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Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it.
NEW YORK (JTA) — Sidney Brustein, Jewish Hamlet?
Anne Kauffman thinks so. She made the comparison in a phone interview about the play she’s directing — a buzzy production of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” that opened on Monday at the Brooklyn Academy of Music starring Oscar Isaac and Rachel Brosnahan.
“One artistic director who was thinking of doing this [play] was like, ‘You know, it’s not like he’s Hamlet, but…’ And I thought, well, no, actually I think he is like Hamlet!” she said.
She added another take: “I feel like he’s Cary Grant meets Zero Mostel.”
Hansberry saw just two of her works produced on Broadway before her death from cancer at 34 in January 1965. Her first, “A Raisin in the Sun,” which follows a Black family dealing with housing discrimination in Chicago, is widely considered one of the most significant plays of the 20th century. The other, “The Sign in Sidney Brustein’s Window,” ran for a few months in the fall of 1964 until Hansberry’s death and has only been revived a handful of times since, all outside of New York.
Now, the star power of Isaac and Brosnahan is driving renewed interest in the play, which deals with weighty questions about political activism, self-fulfillment in a capitalist world, and racial and ethnic identity — including mid-century Jewish American identity.
The Brustein character, as Kauffman alluded to, is many things. A resident of Greenwich Village deeply embedded in that historic neighborhood’s 1960s activist and artistic circles, he is somewhat of a creative renaissance man. At the start of the play, his club of sorts (“it was not a nightclub” is a running joke) called “Walden Pond” has just shuttered and he has taken over an alternative newspaper. As the script reads, Brustein is an intellectual “in the truest sense of the word” but “does not wear glasses” — the latter description being a possible jab at his macho tendencies. Formerly an ardent leftist activist, he is now weary of the worth of activism and a bit of a nihilist. He’s in his late 30s and is a musician who often picks up a banjo.
Brustein is also a secular Jew, a fact that he telegraphs at certain key emotional and comedic moments. Others, from friends to his casually antisemitic sister-in-law, frequently reference his identity, too.
At the end of the play’s first half, for example, Brustein brings up the heroes of the Hanukkah story in talking about his existential angst — and his stomach ulcer. He has become belligerent to his wife Iris and to a local politician who wants Brustein’s paper’s endorsement.
“How does one confront the thousand nameless faceless vapors that are the evil of our time? Can a sword pierce it?” Sidney says. “One does not smite evil anymore: one holds one’s gut, thus — and takes a pill. Oh, but to take up the sword of the Maccabees again!”
Hansberry’s decision to center a white Jewish character surprised critics and fans alike in 1964 because many of them expected her to follow “A Raisin in the Sun” with further exploration of issues facing Black Americans, said Joi Gresham, the director of the Lorraine Hansberry Literary Trust.
“The major attack, both critically and on a popular basis, in regards to the play and to its central character was that Lorraine was out of her lane,” Gresham said. “That not only did she not know what she’s talking about, but that she had the nerve to even examine that subject matter.”
Hansberry’s closest collaborator was her former husband Robert Nemiroff, a Jewish New Yorker whom she had divorced in 1962 but maintained an artistic partnership with. Nemiroff was a bit Brustein-like in his pursuits: he edited books, produced and promoted Hansberry’s work, and even wrote songs (one of which made the couple enough money to allow Hansberry to focus on writing “A Raisin in the Sun”). But Gresham — who is Nemiroff’s stepdaughter through his second marriage, to professor Jewell Handy Gresham-Nemiroff — emphasized that his personality was nothing like Brustein’s. While Brustein is brash and mean to Iris, Nemiroff was undyingly supportive of Hansberry and her work, said Gresham, who lived with him and her mother at Nemiroff’s Croton-on-Hudson home — the one he had formerly shared for a time with Hansberry — from age 10 onward.
Instead, Gresham argued, the Brustein character was the result of Hansberry’s deep engagement with Jewish intellectual thought, in part influenced by her relationship with Nemiroff. The pair met at a protest and would bond over their passion for fighting for social justice, which included combating antisemitism. The night before their wedding, they protested the execution of Julius and Ethel Rosenberg, and they would remain highly involved in the wave of activism that blossomed into the Black-Jewish civil rights alliance.
“Bob and Lorraine met and built a life together at a place where there was a very strong Black-Jewish nexus. There was a very strong interplay and interaction,” Gresham said. “I think Lorraine was very influenced by Bob’s family, the Nemiroffs, who were very radical in their politics. And so there was a way in which she was introduced to the base of Jewish intellectualism and Jewish progressive politics, that she took to heart and she was very passionate about.”
Robert Nemiroff and Lorraine Hansberry were married from 1953-62. They are shown here in 1959. (Ben Martin/Getty Images)
Hansberry didn’t hesitate to criticize Jewish writers who said controversial things about Black Americans, either. When Norman Podhoretz wrote “My Negro Problem — And Ours,” an explosive 1963 article in Commentary magazine now widely seen as racist, Hansberry responded with a scathing rebuke. She also sparred with Norman Mailer, who once wrote an essay titled “The White Negro: Superficial Reflections on the Hipster.”
Gresham said Brustein’s nihilism represents what Hansberry saw in a range of Jewish and non-Jewish white writers, whom she hoped could be kickstarted back into activism. But Hansberry also nodded to the reasons why someone like Brustein could feel defeated in the early 1960s, a decade and a half after World War II.
“You mean diddle around with the little things since we can’t do anything about the big ones? Forget about the Holocaust and worry about — reforms in the traffic court or something?” Brustein says at one point in the play to a local politician running as a reformer.
Daniel Pollack-Pelzner, a Jewish scholar of literature who has written on Hansberry, said the resulting Brustein character is a very accurate depiction of a secular Jew at the time — both keenly attuned to prejudice in society and also lacking some understanding of the experience of being Black.
“I was just intoxicated that Hansberry could conjure that world, both so affectionately, but also so clear-sidedly that it seems like she can see the limitations of all of the characters’ perspectives,” he said. “But she also represents them with sympathy and humor.”
Kauffman, who also helmed a revival of the play in Chicago in 2016, is impressed with how “fully fledged” the Brustein character is.
“Who are the cultural icons who have sort of articulated the Jew in our culture in the last 50 years or 60 years, you know?” she said. “Brustein is not a caricature of a Woody Allen character, he’s not even ‘Curb your Enthusiasm’ or a Jerry Seinfeld character. He’s a fully drawn character.”
Isaac, who is of mainly Guatemalan and Cuban heritage, has played Jewish characters before, including a formerly Orthodox man in an Israeli director’s remake of the classic film “Scenes From a Marriage.” In the lead-up to this play, he has largely avoided getting caught in headlines focused on the “Jewface” debate, over whether non-Jewish actors should be allowed to play Jewish characters on stage and screen.
But when asked about the responsibility of playing a Jewish character in a New York Times interview, Isaac referenced the fact that he has some Jewish heritage on his father’s side.
“We could play that game: How Jewish are you?” he said to interviewer Alexis Soloski, who is Jewish. “It is part of my family, part of my life. I feel the responsibility to not feel like a phony. That’s the responsibility, to feel like I can say these things, do these things and feel like I’m doing it honestly and truthfully.”
When Kauffman directed a version of the play at the Goodman Theater in Chicago in 2016, her lead actor had “not a single drop of Jewish heritage…in his blood,” and she said she had to convey “what anger looks like” coming from a Jewish perspective. Working with Isaac has been different — instead of starting at a base of no knowledge, she has been pushing for more of an Ashkenazi sensibility than a Sephardic one.
“I believe that his heritage leans, I’m guessing, more towards Sephardic. And mine is pure Ashkenazi,” she said. “We sort of joke: ‘[The part] is a little bit more Ashkenazi than that, you know what I mean?’ Like, ‘the violence is actually turned towards yourself!’”
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Palestinian restaurant opening near Columbia names its location to honor girl killed in Gaza, campus protesters
(JTA) — A Palestinian restaurant in New York City has named its new location “Hinds Hall” after the moniker pro-Palestinian protesters at Columbia University gave to a campus building they occupied last spring.
In a post on Instagram on Thursday, the restaurant, Ayat NYC, which has eight locations, announced that its new storefront in Morningside Heights would be renamed in solidarity with the protesters at Columbia.
“It stands right next to Columbia University where students stood up for Gaza and renamed Hamilton Hall, a campus building to Hinds Hall and we choose to stand with them and carry that name forward,” the post read.
Critics of Columbia’s pro-Palestinian protests at the time accused its participants of antisemitism and calling for violence against Jews. In June, a report by the Columbia University Task Force on Antisemitism found that over half of its Jewish student body had experienced discrimination and exclusion after Hamas’ Oct. 7, 2023, attack on Israel.
The new location for the restaurant, which is owned by restaurateur Abdul Elenani and his wife, Ayat Masoud, faced criticism from some of the neighborhood’s Jewish residents, who say they have been overwhelmed by pro-Palestinian symbols and sentiment since Columbia became an epicenter of the encampment movement last year.
Ayat wove pro-Palestinian advocacy into its practices throughout the war in Gaza. In January 2024, one of its locations drew a public outcry after its menu featured the phrase “From the River to the Sea,” a phrase frequently used by pro-Palestinian activists that Jewish watchdogs view as a call for Israel’s destruction. Afterwards, the location hosted a free Shabbat dinner for over 1,300 people that drew anti-Zionist and pro-Palestinian Jews and others.
“Our restaurants will not only ever serve food. It will serve memory, truth, and responsibility,” the new post from Ayat NYC continued. “The least we can do is carry her name in our hearts and on our storefront so that everyone who walks by knows that Hind mattered and every single child matters.”
The location’s name, which was also adopted in a song by rapper Macklemore, pays homage to Hind Rajab, a 6-year-old Palestinian girl who was killed in Gaza in January 2024. (The Israeli military denied responsibility for her death, but a Washington Post investigation found that Israeli armored vehicles were present in the area.)
Her heavily publicized death, and the phone call she made to paramedics with the Palestine Red Crescent Society while stranded in a vehicle, also inspired the docudrama “The Voice of Hind Rajab,” which won a top prize at the Venice Film Festival in September.
“Her name carries the weight of all the children whose voices were silenced and whose blood was treated like it meant nothing,” the post by Ayat NYC continued.
An opening date has not yet been set for the Upper West Side location. A new location opened in late October in Astoria, the Queens neighborhood that is home to Mayor-elect Zohran Mamdani and home to a thriving pro-Palestinian activist community.
The post Palestinian restaurant opening near Columbia names its location to honor girl killed in Gaza, campus protesters appeared first on The Forward.
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NC activists claimed ‘victory’ in their Israel-divestment push. The state treasury says they’re wrong.
(JTA) — Earlier this week, several pro-Palestinian groups in North Carolina touted the state pension fund’s sale of $6.7 million in Israeli government bonds as a “victory.”
But despite the groups’ claims, the North Carolina Department of State Treasurer said that the sale had nothing to do with “divestment” but was simply a part of a routine portfolio rebalance.
“The sale of two Israel Government International bonds was not related to a divestment exercise,” the North Carolina Department of State Treasurer said in a statement to the Jewish Telegraphic Agency. “The previously held bonds were sold in October during a larger fixed income portfolio rebalancing exercise that sold bonds with shorter remaining maturity than the portfolio typically holds.”
The activists had hailed the sale as a win for the boycott Israel movement.
“VICTORY: NC DIVESTS FROM ISRAEL!! Genocide and apartheid are a bad investment,” wrote the Jewish Voice for Peace chapter of Triangle North Carolina in a post on Instagram, adding that the sale was a result of a “powerful campaign” supported by over 40 local organizations.
The JVP chapter had joined with several other groups, including Muslims for Social Justice and Jewish Voice for Peace Charlotte, to form Break the Bonds North Carolina Coalition, a campaign advocating for divestment. Similar campaigns have long lobbied treasury officials in other places.
But the likelihood that officials in North Carolina would pass BDS measures appeared unlikely. In 2017, the state’s governor signed into law a bill that banned state agencies from doing business with companies that boycott Israel. The elected state treasurer, Brad Briner, is a Republican, as is the majority of the legislature. The governor, meanwhile, is a moderate Jewish Democrat who has never made Israel a centerpiece of his politics.
Still, anti-Israel sentiment that has surged among Democrats have made an impact on the state. In June, the North Carolina Democratic Party passed a resolution calling for the United States to implement an immediate arms embargo on Israel. And in August, the Democratic Rep. Valerie Foushee announced that she “will not accept” donations for the 2026 elections from the pro-Israel lobby AIPAC.
Last month, on Oct. 29, Break the Bonds gathered outside the State Treasurer’s Office to deliver a petition with 4,600 signatories and called on the state to divest the Israeli bonds held in its pension fund.
“The people of North Carolina do not want a retirement fund invested in genocide, occupation, and apartheid,” the petition read. “We demand that our savings be used to make our communities stronger and healthier, not to fund crimes against humanity abroad.”
But while a press release from JVP cited the petition as part of its efforts to pressure the state to divest, the treasury said that its “rebalancing exercise took place before Break the Bonds NC Coalition presented its petition to our department.”
The treasurer also added that as of the end of October, it still held some Israeli bonds within its broader investments.
The discrepancy between the group’s celebratory tone and the treasury’s explanation was not the first time that a Boycott, Divestment, and Sanctions effort elicited a conflicting response.
In April 2024, anti-Zionist activists at Pitzer College in California, including the local JVP chapter, claimed victory after the school announced it would no longer pre-approve students to study abroad at Haifa University. The school later said the decision had come from waning student interest, not a principled objection.
A similar episode also occurred this month in Minnesota, where pro-Palestinian advocates claimed they had successfully pressured the State Board of Investment to divest from Israeli bonds.
Despite the statements from the groups, which included MN BDS Community and the Anti-War Committee, the state board told TCJewfolk that the sale of some Israeli bonds was a fiscal choice.
“Contrary to statements from the organization referenced in your inquiry, the Minnesota State Board of Investment (SBI) has not changed its investment policy regarding permitted investments,” the SBI told TCJewfolk. “The SBI hires professional, third-party institutional investment managers to make investment decisions at the individual security level. These holdings are not static.”
The status of Israel bonds in New York City offers another glimpse at the complicated politics of the contested holdings. This year, Comptroller Brad Lander, a progressive, declined to reinvest Israel bonds that matured, giving anti-Israel activists a sense of the victory. But the city remains invested in Israeli assets, and activists there are continuing to push for divestment — which the mayor-elect, Zohran Mamdani, favors and the comptroller-elect, Mark Levine, says he does not plan to do.
In a press release Tuesday, JVP said that the sale in North Carolina came shortly after “Minnesota and Michigan announced their decisions not to re-invest.
Reached for comment by the Jewish Telegraphic Agency, Ari Rosenberg, a member of Jewish Voice for Peace Triangle and the Break the Bonds NC Coalition, said the state’s decision “represents the power of people’s voices from across the state — including public sector workers — who had been calling attention to these problematic investments for nearly a year.”
“For months, we met with the Treasurer’s office, gathered 5,000 signatures from concerned citizens, and rallied with state pension fund recipients and community members to deliver our petition and our message,” Rosenberg said in an emailed statement. “The Treasurer’s decision makes it clear that our voices were heard.”
The post NC activists claimed ‘victory’ in their Israel-divestment push. The state treasury says they’re wrong. appeared first on The Forward.
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From golems to Horton to banana menorahs: This year’s Hanukkah kids’ books light up the imagination
(JTA) — From Who-ville to Schmoozeville, and from island getaways to cozy homes, this year’s crop of Hanukkah books for kids of all ages take families on journeys to imaginative settings, some familiar from the pantheon of children’s literature and Jewish ideas. Families from across the diverse Jewish spectrum will enjoy the new titles that celebrate the popular eight-day holiday, also known as the Festival of Lights.
Three titles garnered the recommendation of the Association of Jewish Libraries — “Construction Site, Hanukkah Lights,” “Banana Menorah” and “Lost and Found Hanukkah.”
Hanukkah begins at sundown on Sunday, Dec. 14.
“Construction Site Hanukkah Lights”
Sherri Duskey Rinker and Shawna J.C. Tenney
Chronicle Books; ages 2-4
The youngest children — particularly those who are vehicle-obsessed — will enjoy lifting the flaps of this rhyming story, in which a dump truck, a crane and a cement mixer transform a construction site into a Hanukkah wonderland with a dazzling giant menorah and a huge pile of shiny gold Hanukkah gelt.
“Happy HanukKat”
Jessica Hickman; illustrated by Elissambura
Kar-Ben Publishing; ages 1-4
Jessica Hickman’s sweet, rhyming board book about a lively Jewish family of kittens will tickle the youngest kids, who will have fun celebrating each night of the holiday with the Hanukkah party-loving cat family. Elissambura’s playful illustrations feature kitties in Hanukkah party hats and sweaters.
“Golem Loves Latkes: A Tasty Hanukkah Tale”
Doreen Klein Robinson; illustrated by Anna Krajewska
Intergalactic Afikomen; ages 3-10
In Doreen Klein Robinson’s fun-filled story, an endearing little girl loves to visit her bubbie for Hanukkah in the happy village of Schmoozeville, where everyone likes to schmooze – chat, in Yiddish. But this year, the usually friendly townsfolk are bickering about the best topping for fried potato latkes — applesauce or sour cream. The young girl makes a clay dreidel that spins to life as a golem, the centuries-old Jewish mystical clay figure who protects Jews. When the latke-loving golem gobbles up all of Schmoozeville’s crispy latkes, the clever girl takes the golem’s message to the warring camps: Enjoy your latkes however you like and celebrate the true meaning of the holiday. Anna Krajewska’s lively, colorful illustrations add to the mayhem and score points for featuring a youthful, active bubbie.
“Dr. Seuss’s Horton Hears a Hanukkah Party!”
Leslie Kimmelman; illustrated by Tom Brannon, based on “Horton Hears a Who!” by Dr. Seuss
Random House; ages 3-7
Horton the Elephant looms large in Leslie Kimmelman’s rhyming riff on the classic “Horton Hears a Who!” by Dr. Seuss. The original features an elephant who champions the small against the mighty — a perfect character for the Hanukkah story. In this version, only Horton hears the faint sound of celebration that goes on night after night, so his jungle friends tease him. On the eighth night Horton sees the sparkling menorah belonging to a rabbi, who invites Horton and his pals to his family’s celebration. Tom Brannon’s illustrations translate the essence of Seuss’s floppy-eared Horton to a Jewish setting.
“Banana Menorah”
Lee Wind; illustrated by Karl West
Apples & Honey Press; ages 3-5
In Lee Wind’s light-hearted story, Skylar, a spirited young girl, and her two fathers are vacationing on an island far from home on the first night of Hanukkah. But both dads forgot to pack a menorah. The clever girl improvises with what’s on hand — the first night, it’s a banana menorah, the next, a granola bar. When they get home in time for the fourth candle and light their three menorahs, Skylar misses the new ones. For the rest of the holiday, her family celebrates with friends and all kinds of menorahs. Karl West’s animated illustrations add to the fun for a playful, creative holiday. Instructions for a banana menorah at the end — though there are also mass market versions available to buy.
“Lost and Found Hanukkah”
Joy Preble; illustrated by Lisa Anchin
Chronicle Books; ages 5-8
LGBT families and homemade menorahs are part of Joy Preble’s heartwarming story about Nate, who loves celebrating Hanukkah and lighting his family’s three menorahs, including one he made. When he and his two fathers move to a new apartment, Nate’s menorah gets lost. At Amy’s Judaica shop, Nate befriends the latke-loving, furry store kitty named Kugel, who runs out of the shop. When Nate’s dads fry up a batch of latkes for the holiday, the clever boy hatches a plan to find Kugel. By story’s end, everyone is reunited in time to celebrate Hanukkah and Nate carves a perfect new menorah. Lisa Anchin’s large cartoon-style illustrations reflect the story’s warmth and love.
“The Book of Candles: Eight Poems for Hanukkah”
Laurel Snyder; illustrated by Leanne Hatch
Clarion Books; ages 4-8
Children will enjoy following a young girl, her siblings, their parents and — again — a kitten as they light Hanukkah candles every night. Each night’s poem flows lyrically to the next. The award-winning Laurel Snyder adds a note for each candle that illuminates the themes of the holiday and turns the story into a teachable moment. Leanne Hatch’s cartoon-style illustrations capture the cozy, wintry setting and glow of the flickering flames
“A Dragon Called Spark: A Hanukkah Story”
Lily Murray; illustrated by Kirsti Beautyman
Kalaniot Books; ages 4-7
In Lily Murray’s imaginative tale, a young girl named Eva feels lonely when she and her family move somewhere new and she is far from friends at the start of Hanukkah. For comfort, Eva turns to Spark, her imaginary friend, a diminutive flying dragon. But Eva is worried that Spark is lonely and hopes for a Hanukkah miracle — a friend for herself and for Spark. When she meets Charlie, her neighbor, they become friends and she tells him about Spark, whom he can’t see. The power of friendship shines in this poignant story. Kirsty Beautyman’s illustrations capture the magic of the tale, which gets high marks for featuring a multiracial friendship.
“Eight Fairy Nights”
Imagined and illustrated by Bub
BookBaby; ages 4-8
Bub’s unique Hanukkah story introduces young kids to a fairytale version of the Hanukkah story and the Maccabees — who are lauded for their courage. Readers then meet eight fairies with eight virtues, one for each night. The book captures Bub’s enthusiasm for celebrating Hanukkah, and his weakness for riddles. Without referencing God’s hand in the Hanukkah miracle, “Eight Fairy Nights,” may be especially appealing to secular and humanist Jews.
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