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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.


The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.

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Hamas Expands European Reach, Posing ‘High Likelihood’ of Terror Attack in Next Six Months, Intel Report Warns

Palestinian Hamas terrorists stand guard at a site as Hamas says it continues to search for the bodies of deceased hostages, in Beit Lahiya in the northern Gaza Strip, Dec. 3, 2025. Photo: REUTERS/Stringer

Hamas operatives have pushed far beyond Gaza, embedding themselves across Europe — and now posing a growing threat inside the United Kingdom, where covert arms caches and active attack plots have put intelligence services on high alert, according to a new report. 

Even though Hamas has traditionally focused its operations in Israel, Gaza, and the West Bank, the Palestinian terrorist group has been steadily cultivating foreign attack capabilities — a trend highlighted in a new report obtained by The Daily Mirror, which warns of a looming threat of Hamas-led attacks in Europe.

Intelligence assessments indicate that the terrorist group, backed for years by Iran, Qatar, and Turkey, has been gradually expanding its presence in Europe through a network of charities, NGOs, and criminal gangs, with Israeli diplomatic missions, Israel-linked businesses, and Jewish religious sites among its top targets.

The report also notes that the group has not only stockpiled weapons such as AK-47s and ammunition but is increasingly turning to drone warfare, bolstered by backing from Lebanon and Iran and supported by Eastern European crime networks that help it acquire advanced weaponry.

“The Oct. 7, 2023, assault fundamentally altered Israel’s threat perceptions, but also reshaped Hamas’s calculations,” the report says, referring to the Hamas-led invasion of and massacre across southern Israel. 

“Following catastrophic damage to its infrastructure in Gaza and significant leadership attrition, the group’s remaining command nodes particularly those in Lebanon began activating contingency plans long under development,” it continues. 

“The organization’s leadership now appears more willing to accept the strategic risks of external operations. If Hamas sustains further attrition, external operations may grow in relative importance within the group’s strategy,” the intelligence report adds. 

According to the United Kingdom’s domestic counter-intelligence and security agency, MI5, and the Joint Terrorism Analysis Center, the current threat level of a terror attack in the UK is assessed to be “substantial.”

Over the next six months, the report warns, there is a “high likelihood of continued attempts at external operations, particularly in Europe, as Hamas seeks to demonstrate resilience.”

This assessment comes amid multiple intelligence findings showing that Hamas has expanded its terrorist operations beyond the Middle East, leveraging a long-established network of weapons caches, criminal alliances, and covert infrastructure quietly built across Europe over the years.

In October, West Point’s Combating Terrorism Center released a study detailing how Hamas leaders in Lebanon have directed operatives to establish “foreign operator” cells across Europe, collaborating with organized crime networks to acquire weapons and target Jewish communities abroad.

For example, a failed Hamas plot involved an alleged operative in Germany traveling to Lebanon to “receive orders from the Qassam Brigades [Hamas’s military wing] to set up an arms depot for Hamas in Bulgaria,” part of a broader, multi-year effort to cache weapons across Europe. 

German authorities foiled the plan, detaining four Hamas members in late 2023 on suspicion of planning attacks.

Earlier this year, the four suspects went on trial in Berlin in what prosecutors described as Germany’s first-ever case against members of the Palestinian terrorist group.

During the investigation, German authorities also found evidence on a defendant’s USB device showing that the Hamas operatives were planning attacks on specific sites in Germany, including the Israeli embassy in Berlin.

Similar weapons depots were established in Denmark, Poland, and other European countries, with Hamas members repeatedly trying to retrieve them to support their operations and plan potential attacks.

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Jerusalem-Based Policy Center Seeks to Forge Inroads With US Lawmakers to Safeguard Israel’s Capital

Thousands of Jews gather for a mass prayer for the hostages in Gaza at the Western Wall in the Old City of Jerusalem, Jan. 10, 2024. Photo: Yaacov Cohen

Amid increasing uncertainty over the future of the US-Israel relationship, a Jerusalem-based organization committed to safeguarding Israel’s capital city has decamped to Washington, DC in an attempt to make inroads with federal lawmakers in the US.

The Jerusalem Center for Applied Policy (JCAP), a research and policy center, aims to help protect and bolster the security, sovereignty, economy, and international standing of “Israel’s indivisible capital” in the face of “existential challenges,” according to its website.

To expand its mission, JCAP has opened a new office in Washington, DC, where some its principals are currently touring to meet with lawmakers on Capitol Hill.

As part of its work, JCAP seeks to mitigate potential threats from terrorist groups and their sponsors and has adopted the goal of spreading awareness about Islamist propaganda campaigns targeting the West, arguing that malevolent entities are trying to undermine the legitimacy of Western democracies and corrode them from within. 

Chaim Silverstein, founder and chairman of JCAP, told The Algemeiner in an interview in Washington, DC this week that protecting Jerusalem is critical to preserving the security and existence of Israel from terrorists. He described Jerusalem as “the heart of Israel,” arguing that adversarial entities understand that “if they harm the head” of the Jewish state, “the rest of the body will implode.”

Silverstein added that Jerusalem is particularly vulnerable because it is home to Israel’s largest Arab population, explaining that countries such as Turkey and Iran have been effectively radicalizing Arab citizens of Israel with the hope of turning them against their home and “Islamicizing” Jerusalem. 

“Radical Islamic enemies are trying to destroy Jerusalem,” he said, stressing that they want to “liberate it for Islam.”

Thus, according to Silverstein, JCAP “formulates policy initiatives” to protect Jerusalem from looming threats. The organization maintains a “unique approach” to combatting Islamic extremism, he argued, touting its extensive efforts to monitor and track the Muslim Brotherhood’s global Islamist network. JCAP aims to share the organization’s findings and methodologies with US lawmakers, equipping them with the ability to thwart extremism in their own borders, Silverstein said.

JCAP aims to enhance “Jerusalem’s international standing through proactive diplomacy while countering the influence of hostile international agitators,” its website states, adding that the goal is “advancing strategic partnerships and advocacy to reinforce Jerusalem’s role as Israel’s united and sovereign capital.”

In addition to information about terrorist cells, JCAP also wants to spread awareness about the pervasive influence campaign waged by Qatar against Israel and Western countries. According to Silverstein, Qatar has attempted to soften its image through elevating its prominence in sports, entertainment, and academia while simultaneously spreading misinformation regarding Israel’s domestic policies and military campaign in Gaza. Moreover, he argued that this influence campaign aims to spark chaos within the borders of Western countries such as Canada, Australia, and the US. 

US Director of National Intelligence Avril Haines warned in 2024 that actors tied to adversarial governments such as Iran have encouraged and provided financial support to rampant protests opposing Israel’s defensive military operations against the Palestinian terrorist group Hamas in Gaza.

Meanwhile, analysts have revealed in recent reports that Qatar, a longtime supporter of Hamas and the Muslim Brotherhood’s global network more broadly, has spent tens of billions of dollars to influence US policy making and public opinion in Doha’s favor. At the same time, the country has provided the Hamas-run government in Gaza with an estimated $1.8 billion and allows the terrorist group to host an office in Doha.

JCAP acknowledged that the popularity of Israel has declined precipitously in the US, complicating efforts to forge strong ties with certain American lawmakers. Nonetheless, the organization said it believes that US policymakers will understand that their national security interests are intertwined with Israel’s. The organization suggested that despite the souring reputation of the Jewish state among younger US voters, the American military and defense industry still recognize that Israel is a valuable asset. Moreover, the group claimed that their mission — focusing more on Jerusalem rather than Israel writ large — helps to emphasize the shared Christian-Jewish Biblical heritage of the land rather than politics. 

Amid the Israel-Hamas war in Gaza, many recent polls have shown a precipitous decline in support of Israel among Democrats and, increasingly, even Republicans, especially younger voters.

Though JCAP claims to stay neutral on domestic US issues, it explicitly identifies as “pro-Trump,” praising US President Donald Trump’s policies toward Israel. The group hopes to form inroads with the Trump administration and Republicans to help guide policies on Israel.

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Irish Three-Time Eurovision Winner Backs Ireland’s Withdrawal From Song Contest Over Israel’s Participation

Irish-Australian singer Johnny Logan sings during a rehearsal for the first semi-final in the supporting program of the Eurovision Song Contest (ESC) 2024. Photo: Jens Büttner/dpa via Reuters Connect

Ireland’s three-time Eurovision winner Johnny Logan said he supports the country’s national broadcaster in its decision to pull out of the 2026 Eurovision Song Contest after organizers said Israel will be allowed to participate.

Johnny Logan said he was “proud” of RTÉ’s decision and thinks the European Broadcasting Union (EBU), which organizes the competition, should have Israel “removed” from next year’s Eurovision contest, set to take place in May in Vienna, Austria. “I really feel that in this case, RTÉ definitely made the right decision,” he said on RTÉ’s radio news program “This Week.”

“I don’t think that Israel should be allowed to hide under the umbrella of the Eurovision … make it look as though, everything’s OK, business as usual, because it’s not. I think most people in Ireland would agree with that,” Logan added. “I think that the EBU should have made a decision regarding Israel, a decision removing them from the show and taking that decision away from individual countries. But being as it is. I really think that what Ireland, what RTÉ, have done is exactly the right thing to do. I support them 100 percent.”

The EBU ruled last week that Israel can compete in next year’s contest, despite backlash over Israel’s participation because of its military campaign against Hamas terrorists in the Gaza Strip. Following the EBU’s decision, the national broadcasters of Spain, the Netherlands, Ireland, and Slovenia confirmed their withdrawal from the competition. Logan called on the national broadcasters of other countries to also boycott the 2026 Eurovision because of Israel’s involvement.

“And it’s not about the Israeli people, it’s about the people in charge of Israel, the governments that have been making these decisions,” he added. Logan said he believes Israel being allowed to participate “adds a kind of respectability to the way they’ve behaved.”

Logan noted that the Eurovision Song Contest has turned political in the past, and cited as an example Russia being removed from the competition following its invasion of Ukraine. “They did it with Russia in the Eurovision. They say that the Eurovision is nonpolitical but the reality of it is when it is necessary it becomes political,” Logan said.  “The Eurovision has been really good to me, but I do feel very strongly about it.”

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