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7 Jewish highlights from the new Museum of Broadway
(New York Jewish Week) — There’s a reliably funny Twitter account called @JewWhoHasItAll, which imagines a universe where nearly everyone is Jewish and those who aren’t are the outliers.
That’s the sensation I got on a visit to the Museum of Broadway, which opened last month. A three-story tribute to the Theater District located in its very heart, it is organized around a series of rooms dedicated to landmark musicals and plays, and the majority bear the stamp of Jewish creators: Jerome Kern and Oscar Hammerstein’s “Showboat,” Richard Rodgers and Hammerstein’s “Oklahoma!”, Leonard Bernstein’s “West Side Story,” Stephen Sondheim’s “Company,” Tony Kushner’s “Angels in America.”
Other projects dedicated to the history of Broadway aren’t shy about noting the over-representation of Jews in the business. “Broadway Musicals: A Jewish Legacy,” a documentary that seems to run on a nearly endless loop on my local PBS station, notes that “over the [first] 50-year period of its development, the songs of the Broadway musical were created almost exclusively by Jewish Americans.”
If the Museum of Broadway acknowledges this, I didn’t notice. Some might take this as an omission or a snub, the way critics objected when a new museum about the history of Hollywood initially overlooked the essential Jewish contribution to the movie business. But in this case, the Jewishness of Broadway is taken as a given. You’d have to be culturally illiterate not to notice how many of the most celebrated creators are Jewish: In addition to the musical tributes, there are wall placards singling out the contributions of Sondheim and the director Harold Prince, a corner devoted to “Fiddler on the Roof” and a gallery celebrating Joe Papp (born Joseph Papirofsky) and his Public Theater, that reliable pipeline of breakthrough Broadway shows.
(There were, however, frequent mentions of the specifically African-American contributions to Broadway. That seemed a deliberate attempt to counter perceptions that Broadway is indeed the “Great White Way.”)
The museum, whose opening was delayed by the pandemic, is a collaboration with Playbill, Broadway Cares/Equity Fights AIDS (which is supported by a portion of the stiff $39 admission charge), the Al Hirschfeld Foundation, Concord Theatricals and Goodspeed Musicals. Its approach is chronological, with a timeline that pulls visitors from room to room, from vaudeville, through Broadway’s “Golden Age” and up to the present. Original costumes and props are on display in Instagram-ready settings that resemble the original sets for various shows.
Among the paraphernalia and stagecraft are a number of Jewish highlights. Here are seven:
A whirligig of Rodgers and Hammerstein musicals
A sample of Rodgers and Hammerstein musicals, on display at the Museum of Broadway. (NYJW)
Just past the cornstalks celebrating the ground-breaking 1943 musical “Oklahoma!” is a wall display showcasing the duo’s most important collaborations, including “Carousel,” “South Pacific,” “The King and I,” “Flower Drum Song” and “The Sound of Music.” Rodgers, working with Hammerstein and before him Lorenz Hart, wrote more than 900 songs and 41 Broadway musicals. Combine that with Hammerstein’s work with Kern, and it is hard to imagine two more important figures in the history of musical comedy.
Jerome Robbins’ notes on “West Side Story”
Choreographer Jerome Robbins suggested a “seder” scene in an early conception of what became “West Side Story.” (NYJW)
Look closely at this list of proposed scenes for a musical based on “Romeo and Juliet” and you’ll see the word “seder.” Robbins, the choreographer, originally proposed that the show focus on a star-crossed love story between a Jewish girl and an Irish boy, but he and his fellow Jewish collaborators — composer Leonard Bernstein, lyricist Stephen Sondheim and playwright Arthur Laurents — soon felt the interfaith idea had already been exhausted in plays like “Abie’s Irish Rose.” When the show premiered in 1957, the gangs were Puerto Rican and a medley of ethnic whites.
Florence Klotz’s costume “bible”
Florence Klotz won six Tony Awards for her costume designs. (NYJW)
Costume designer Florence Klotz frequently collaborated with Prince and Sondheim. The museum displays her sketches for Sondheim’s “Follies” and “A Little Night Music.” Born in Brooklyn, Klotz would win six Tony awards. She died in 2006. The museum also includes an entire floor dedicated to the “backstage” talent: costume and set designers, stage managers, prop masters and writers.
A shrine to “Company”
A display at the Museum of Broadway celebrates a recent revival of “Company.” (NYJW)
Sondheim and Prince emerge as the museum’s lodestars. “Their intense and fruitful partnership and their creative trailblazing in [the 1970s] resulted in an extraordinary artistic innovation and a slew of provocative new works,” a wall card proclaims. “Company” (1970) was a largely plotless exploration of urban anomie. The museum calls it a “frank, even painful look at modern life,” perfectly attuned to the upper-middle class theatergoers who, it says, are the “backbone” of the Broadway audience. It’s the show people love or hate if they love or hate Sondheim. The “Company” exhibit includes photos of the original cast and spare set, and a backdrop that draws on the recent gender-bending revival.
A tribute to Joseph Papp
Costumes from productions that originated at Joseph Papp’s Public Theater on display at the Museum of Broadway. (NYJW)
Joe Papp flipped the script on how shows made it to Broadway: His Public Theater produced edgy off-Broadway plays that drew audiences downtown, and then successfully transferred that same buzz to the “Big Stem.” Papp, a son of Yiddish-speaking parents who grew up in a Brooklyn slum, founded the New York Shakespeare Festival. A section of the museum includes costumes and posters from important productions that originated at The Public — including wildly popular revivals of “The Pirates of Penzance” and “The Threepenny Opera” — and a dress Meryl Streep wore in her Broadway debut, in “Trelawny of the ‘Wells.’” Two other musicals developed at The Public — “Hair” and “A Chorus Line” — get their own tribute rooms.
Al Hirschfeld’s barber chair
A room at the Museum of Broadway includes works by the famed caricaturist Al Hirschfeld. (NYJW)
The museum has an entire gallery dedicated to the work of artist Al Hirschfeld and his caricatures of Broadway stars and productions from 1923-2001. His pen-and-ink drawings were a visual shorthand for “Broadway,” and it would sometimes seem that the stars he drew would come to resemble his drawings, not the other way around. The museum includes his wonderfully kooky Barbra Streisand in “Funny Girl” and a bearish, brooding Zero Mostel as Tevye. On display is a barber chair similar to the one he used in his studio (the original had fallen apart by the 1990s).
A stage set from “The Producers”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
You can sit behind a desk and pretend you are Broadway producer Max Bialystock, who was played by Nathan Lane in the phenomenally successful 2001 musical adaptation of Mel Brooks’ 1967 film about the worst musical ever staged for Broadway. The display is a reminder of the impact of the show, and not only on ticket prices: It proved the viability of adapting movies for Broadway, and earned a record-setting 12 Tony Awards. The museum calls the musical, with its tap-dancing Nazis and sweet and conniving Jewish protagonists, a “glittering homage to Broadway’s past” — a past that is unmistakably Jewish.
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The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.
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Revealed: Hamas Money Laundering Network in Turkey Linked to Iran
Presidents Hassan Rouhani of Iran, Tayyip Erdogan of Turkey and Vladimir Putin of Russia pose for a picture after a news conference during their meeting in Ankara, Turkey, September 16, 2019. Photo: Pavel Golovkin/Pool via REUTERS.
i24 News – The Israel Defense Forces (IDF) and Shin Bet revealed on Sunday that Hamas, under the direction of Iran, is operating a clandestine network of money exchangers in the heart of Turkey, using the country’s financial infrastructure to fund terrorist activities against Israel.
According to documents obtained by Israeli authorities, the network is composed primarily of Gazans who manage the transfer of hundreds of millions of dollars directly to Hamas and its leadership.
These funds are received from Iranian sources, stored, and then forwarded to the terrorist organization to support its operations.
The documents released by the IDF detail a portion of these financial activities, including transactions totaling hundreds of thousands of dollars.
Three individuals of Gazan origin have been identified as key operatives within the network. Tamer Hassan, a senior official in Hamas’s Ministry of Finance, resides in Turkey and operates under the leadership of Khalil al-Hayya. Khalil Farawneh and Fareed Abu Dayer also act as money changers within the network, facilitating the movement of funds under Iranian guidance.
Israeli authorities stressed that despite the devastation in Gaza, Hamas continues to pursue terrorist plots against Israel and is actively attempting to rebuild its capabilities, including through operations outside the Strip.
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Israel’s Netanyahu to Discuss Second Phase of Gaza Plan with Trump Later This Month
Trucks transport tanks on the Israeli side of the border with Gaza, Israel, November 18, 2025. Photo: REUTERS/Amir Cohen
Israeli Prime Minister Benjamin Netanyahu said on Sunday that the second phase of a US plan to end the war in Gaza was close, but cautioned several key issues still needed to be resolved, including whether a multinational security force would be deployed.
Netanyahu, speaking to reporters alongside German Chancellor Friedrich Merz in Jerusalem, said that he would hold important discussions with US President Donald Trump at the end of the month on how to ensure the plan’s second phase was achieved.
The prime minister’s office in November said that Trump had invited Netanyahu to the White House “in the near future,” although a date for the visit has not yet been made public.
Netanyahu said that he would discuss with Trump how to bring an end to Hamas rule in Gaza. A ceasefire between Israel and Hamas is entering its second month, although both sides have repeatedly accused each other of violating the truce agreement.
Netanyahu said that it was important to ensure Hamas not only upholds the ceasefire but also follows through on “their commitment” to the plan to disarm and for Gaza to be demilitarized.
Israel retained control of 53 percent of Gaza under the first phase of Trump’s plan, which involved the release of hostages held by terrorists in Gaza and of Palestinians detained by Israel. The final hostage remains to be handed over are those of an Israeli police officer killed on October 7, 2023 fighting Gazan militants who had invaded Israel.
“We’ll get him out,” Netanyahu said.
Since the ceasefire started in October, the terrorist group has reestablished itself in the rest of Gaza.
GERMAN CHANCELLOR: PHASE TWO MUST COME NOW
According to the plan, Israel is to pull back further in the second phase as a transitional authority is established in Gaza and a multinational security force is deployed, Hamas is disarmed, and reconstruction begins.
A multinational coordination center has been established in Israel, but there are no deadlines in the plan and officials involved say that efforts to advance it have stalled.
“What will be the timeline? What are the forces that are coming in? Will we have international forces? If not, what are the alternatives? These are all topics that are being discussed,” Netanyahu said, describing them as central issues.
Merz said that Germany was willing to help rebuild Gaza but would wait for Netanyahu’s meeting with Trump, and for clarity on what Washington was prepared to do, before Berlin decides what it would contribute but that phase two “must come now.”
NETANYAHU: WEST BANK ANNEXATION REMAINS A SUBJECT OF DISCUSSION
Netanyahu said that he would also discuss with Trump “opportunities for peace,” an apparent reference to US efforts for Israel to establish formal ties with Arab and Muslim states.
“We believe there’s a path to advance a broader peace with the Arab states, and a path also to establish a workable peace with our Palestinian neighbors,” Netanyahu said, asserting Israel would always insist on security control of the West Bank.
Trump has said he promised Muslim leaders that Israel would not annex the West Bank, where Netanyahu’s government is backing the development of Jewish settlements.
The “question of political annexation” of the West Bank remains a subject of discussion, Netanyahu said.
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Frank Gehry, renowned architect who began life as Frank Goldberg, dies at 96
(JTA) — Frank Gehry, a Jewish architect who became one of the world’s most renowned innovators in his field for his contributions to modernist architecture, including the famed Guggenheim Museum in Bilbao, Spain, has died at 96.
His death following a brief respiratory illness was confirmed on Friday by the chief of staff at his firm, Meaghan Lloyd, according to the New York Times.
Gehry was born Ephraim Owen Goldberg on Feb. 28, 1929, to a Jewish family in Toronto. In 1947, Gehry moved to Los Angeles with his family and later went on to graduate from the University of Southern California’s School of Architecture in 1954.
The same year, he changed his name to Gehry at the behest of his first wife who was “worried about antisemitism and thought it sounded less Jewish.” He would later say he would not make the choice again.
Among Gehry’s most acclaimed works, which feature his signature, sculptural style, are the Bilbao Guggenheim, the Walt Disney Concert Hall in Los Angeles, the Louis Vuitton Foundation in Paris and the DZ Bank Building in Berlin.
Gehry also often returned to the motif of a fish, including two large fish sculptures in the World Trade Center in New York City and on Barcelona’s seafront. Some tied the fish motif to his recollections about his Jewish grandmother’s trips to the fishmonger to prepare for Shabbat each week.
“We’d put it in the bathtub,” Gehry said, according to the New York Times. “And I’d play with this fish for a day until she killed it and made gefilte fish.”
Gehry began to identify as an atheist shortly after his bar mitzvah. But in 2018, while he was working on ANU-Museum of the Jewish People in Tel Aviv, he told the Jewish Journal that Judaism had influenced his career nonetheless.
“There’s a curiosity built into the [Jewish] culture,” he said. “I grew up under that. My grandfather read Talmud to me. That’s one of the Jewish things I hang on to probably — that philosophy from that religion. Which is separate from God. It’s more ephemeral. I was brought up with that curiosity. I call it a healthy curiosity. Maybe it is something that the religion has produced. I don’t know. It’s certainly a positive thing.”
In 1989, Gehry won the prestigious Pritzker Prize, considered one of the top awards in the field of architecture, and in 1999 won the Gold Medal from the American Institute of Architects. In 2007, Gehry also received the Jerusalem Prize for Arts and Letters and in 2016 won the Presidential Medal of Freedom from then-president Barack Obama.
His survivors include his wife, Berta Isabel Aguilera, daughter Brina, and sons Alejandro and Samuel. Another daughter, Leslie Gehry Brenner, died of cancer in 2008.
The post Frank Gehry, renowned architect who began life as Frank Goldberg, dies at 96 appeared first on The Forward.