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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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Top PLO, Fatah Officials: Hamas Should Join Us, No Need to Disarm
Hamas police officers stand guard, amid a ceasefire between Israel and Hamas, in Gaza City, Oct. 11, 2025. Photo: REUTERS/Stringer
The Palestinian Authority (PA) appears eager to hijack the Board of Peace’s UN Security Council-approved administration of Gaza and unite with Hamas to control the Strip themselves, according to comments made by a top PLO official in a new interview documented by Palestinian Media Watch.
According to Egyptian reports, PLO Executive Committee Secretary Azzam Al-Ahmad has been in Cairo meeting with Hamas and Palestinian Islamic Jihad:
Two informed Palestinian sources said Azzam Al-Ahmad, the secretary-general of the PLO Executive Committee, held talks in Cairo with faction leaders including Hamas and Islamic Jihad about the two movements joining the PLO.
[Manassa.news (Egypt), Feb. 22, 2026]
Officials from the governing PA and its parent political body the Palestine Liberation Organization have been making repeated overtures to Hamas to join the PLO.
In November 2025, Fatah Central Committee Secretary Jibril Rajoub called on Egyptian help to “bridge the gaps” between Fatah and Hamas so they can unite against Israel.
The previous month, PA Chairman Mahmoud Abbas’ Advisor Mahmoud Al-Habbash declared “our hands are extended, and our hearts are open to rapprochement with Hamas.”
The implicit hope behind the unity push is that move might satisfy international demands for Hamas to relinquish control of Gaza. Back in October, Al-Habbash said that Hamas needed to disarm, but clearly the PA position has since softened. As a sweetener for Hamas to agree to join the PLO, the PLO says it is now ready to appease the terror group by allowing it to keep its weapons and remain an armed force on the ground.
The PA and PLO are aware that to legitimize absorbing Hamas into the PLO, Hamas – the perpetrators of the largest massacre of Jews since the Holocaust – must also be laundered of the stigma of being defined as a terror organization.
During al-Ahmad’s visit, he was interviewed by an Egyptian newspaper, tacitly confirming his mission:
They [US President Donald Trump and the Board of Peace] do not want Hamas to play any role in the Gaza Strip, and we reject this completely, because Hamas is part of the Palestinian national activity. It is true that it has not yet joined the PLO, but we are in a constant national dialogue with them to complete what is required for their entry into the PLO. Therefore, all talk about disarming Hamas and it being a terror organization is unacceptable to us, because Hamas is not a terror organization. [emphasis added]
[Shorouk News (Egyptian paper), Feb. 23, 2026]
The immediate follow-up question in the interview was seen as so important by Al-Ahmad that he made it into a post for his Facebook page:
Shorouk News’ Mohammed Khayal: “You mean clearly that you in the PLO do not view Hamas as a terror organization?”
Azzam Al-Ahmad: “We have never viewed it as a terror organization, and we always oppose when a decision is made by any international institution or any government classifying them as a terror organization, because they are part of the Palestinian national fabric.”
[Azzam Al-Ahmed’s Facebook page, Feb. 23, 2026]
Lest anyone thought that Al-Ahmad had misspoken, his strong statement was soon backed by Rajoub:
“Fatah Central Committee [Secretary and] member Jibril Rajoub emphasized that [PLO Executive Committee member] Azzam Al-Ahmad did not err in defending the weapons of the Hamas Movement and stating that it is part of the Palestinian national fabric.”
[Shahed, independent Palestinian news website, Feb. 24, 2026]
Meanwhile, without referencing Al-Ahmad directly, Fatah Movement Central Committee member Abbas Zaki doubled down on the renewed push for unity with the Islamist terror groups.
“Fatah Movement Central Committee member Abbas Zaki emphasized that national dialogue among Palestinian factions, foremost among them Hamas and Islamic Jihad, constitutes a ‘necessary path and an urgent national need… The real enemy of this unity is the Israeli occupation, and those who stand behind it politically and militarily, foremost among them the US, which is working to rearrange the region in a way that will serve Israel’s sovereignty at the expense of the Arab and Islamic rights.’”
[Sanad News, independent Palestinian news agency, Feb. 26, 2026]
Statements like these are nothing new for PA or PLO officials, who have been making overtures to Hamas for years. Yet the timing and stridency of this particular effort is everything, as it seeks to directly undermine the Trump-brokered ceasefire agreement and Gaza reconstruction plan based on the establishment of a technocratic government.
A technocratic government, to be known as the National Committee for the Administration of Gaza (NCAG), was chosen as the most effective way to begin to restore services to Gazans, and that makes sense. It provides the administrative structure to deliver essential services while at the same time depriving oxygen to any resumption of warfare against Israel from the territory – at least the parts of Gaza that Hamas no longer controls.
While the PA has decided to go along with the plan, a recent letter from PA Vice Chairman Hussein Al-Sheikh welcoming a PA liaison office with the NCAG stressed the PA’s expectation that this was all just a “transitional” prelude to PA control.
“These constitute practical transitional steps that contribute to alleviating the suffering of our people and providing administrative and security services, without creating administrative, legal, or security duality among our people in Gaza and the West Bank, and while reinforcing the principle of one system, one law, and one legitimate authority over arms.”
[WAFA, official PA news agency, English edition, Feb. 21, 2026]
In the PA’s mindset, whatever moves can hasten the end of this transition, the better, as the notion of suspending conflict with Israel in any Palestinian-populated area even temporarily is anathema to the PLO and Hamas alike.
As evidenced by Al-Ahmad’s latest remarks and others, the PA and PLO have no problem whatsoever with Hamas’ zeal for terrorism – but only appear to differ with the Islamist terror group on who gets to decide when and how it is used.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.
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Israel Did Not Drag the US Into War
US President Donald Trump speaks with White House Chief of Staff Susie Wiles and Secretary of State Marco Rubio during military operations in Iran, at Trump’s Mar-a-Lago resort in Palm Beach, Florida, US. February 28, 2026. The White House/Social Media/Handout via REUTERS
“If anything, I might have forced Israel’s hand,” President Donald Trump exclaimed to a journalist on March 3. He was answering a question posed by ABC News Senior Political Correspondent Rachel Scott, who had just asked the Commander in Chief whether Israel had “pulled the United States into war.”
“Based on the way the negotiation [with Iran] was going, I think they were going to attack first,” Trump replied. “And I didn’t want that to happen.”
The President is completely right.
After a sound bite from Secretary of State Marco Rubio went viral, many on the isolationist right and the pro-Palestinian, “anti-war” left claimed that Israel, a country the size of New Jersey, had dragged the world’s most powerful military into a regional conflict.
“We knew there was going to be an Israeli action, we knew that that would precipitate an attack against American forces, and we knew that if we didn’t preemptively go after them before they launched those attacks, we would suffer higher casualties,” Rubio stated on March 2.
“So he’s flat out telling us that we’re in a war with Iran because Israel forced our hand,” responded popular conservative pundit Matt Walsh in a post on X.
But, as often occurs in cyberspace, Rubio’s comments were taken wildly out of context.
During the same press conference, Rubio was asked a similar question again: “Was the US forced to strike because of an impending Israeli action?” Rubio set the record straight unequivocally.
“No … No matter what, ultimately, this operation needed to happen … This had to happen no matter what.”
The Secretary of State is correct. His answer about Israel triggering the operation implied that it was only a matter of when, not if, the mission would be undertaken by the US.
American military power had been amassing in the Middle East for months, and some reports said that planning for the combined strikes began as far back as December. Other reports suggested that the operation was intended to begin a week earlier, but the conditions weren’t right.
Intelligence provided to Israel by the Central Intelligence Agency, combined with actionable intelligence gathered for years by Israel’s Mossad, suggested that February 28, at around 10 am Tehran time, was the optimal starting line for the mission. Why? Because former Supreme Leader Ayatollah Ali Khamenei was due to meet with nearly 50 of his closest advisors and other senior leaders, above ground. According to The Wall Street Journal, those were the circumstances that nailed down a start date for the ongoing conflict.
That’s why commentators across the aisle got Rubio’s statement so very wrong. In fact, Israel has shown in the past that it would comply willingly should its friends in Washington wish for IDF military action not to go forward.
On June 24, 2025, the Israeli Air Force cancelled planned strikes on Iran after Trump announced that he had told Netanyahu to bring the pilots home and that a ceasefire was in place. The strikes were planned in retaliation for a vicious attack on a Beer Sheva residential building that killed several civilians. Even then, Israel respected the wishes of the United States.
The ongoing conflict in Iran is a combined effort between what US Central Command (CENTCOM) Commander Brad Cooper called, “the two most powerful air forces in the world, the US and Israel,” comments later echoed by Secretary of War Pete Hegseth. It began with full coordination and will end the same way.
As Hegseth said, “only the United States of America military could lead this — only us. But when you add in the Israeli Defense Forces — a devastatingly capable force — the combination is sheer destruction for our radical Islamist Iranian adversaries.”
Aaron Goren is a research analyst and editor at the Foundation for Defense of Democracies (FDD).
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Shock and Resolve: Responsibility from Afar in Times of War
Emergency personnel work at the site of an Iranian strike, after Iran launched missile barrages following attacks by the US and Israel on Saturday, in Beit Shemesh, Israel, March 1, 2026. Photo: REUTERS/Ammar Awad
When my flight to Tel Aviv was canceled in Warsaw, the war had not yet officially begun. Airlines, however, often sense what governments have not yet declared. Within hours, Israel’s airspace closed. Soon after that, the Iranian missile barrage began.
I was en route to join 22 prominent social media voices from the United States and Europe at the Tel Aviv Institute, where I serve as president. We had convened them for four days of intensive work combating antisemitism — a phenomenon that does not subside during war, but metastasizes. Instead, I found myself watching from afar as our participants sheltered in place.
This is not about my disrupted travel plans. It is about what courage looks like when missiles are falling and what responsibility looks like when you are not physically present to hear the sirens.
Among those social media advocates on the ground was Hen Mazzig. His voice has reached millions with moral clarity and unapologetic conviction. When the missiles began, he did not retreat into silence. He did what he has always done: he spoke.
We were able to evacuate a small group of participants by chartered boat after 26 hours at sea. Among them were Karoline Preisler, a non-Jewish German politician and influencer, and Bernice Cohen, a dermatologist whose platform reaches well beyond the Jewish and Israeli ecosystem. Others remain in Israel, including Boston chef Ruhama Shitrit, who, between sleepless nights and repeated dashes to bomb shelters, continues to imagine new ways to present Jewish and Israeli life as vibrant, humane, and dignified — even under fire.
These are not soldiers. They are civilians — influencers, professionals, parents — demonstrating moral steadiness under extraordinary pressure.
If anything is deeply embedded in Jewish consciousness, it is guilt. Even as I insist this is not about me, I would be dishonest not to admit that guilt arrives in waves. I am the kind of person who shows up. I have spent nights in bomb shelters before; I have volunteered in past crises. When a nation you love is under attack, distance can feel like dereliction.
No rational explanation fully quiets that voice.
My flight was canceled. I would have added strain. My team is capable. Strategically, I may be more useful abroad.
The arguments are sound. The emotions persist.
But war clarifies something uncomfortable: showing up is not synonymous with boarding a plane. In modern conflict, the battlefield is not confined to geography. It is informational, diplomatic, and psychological. While missiles fall on Israeli cities, narratives are created abroad. While Israeli families race to shelters, antisemitic incidents spike in Diaspora communities. While soldiers defend borders, others must defend legitimacy.
That work does not happen automatically. It requires voices willing to withstand backlash. It requires influencers who refuse to equivocate when moral clarity is demanded. It requires institutions that remain operational rather than reactive. It requires people positioned outside the blast radius who understand that proximity to danger is not the only measure of courage.
The harder truth is this: guilt often signals an identity conflict. “I am the one who goes.” But leadership sometimes demands a different posture: remaining where you are most effective, even when every instinct pulls you toward physical solidarity.
The participants of our Institute — Hen and those sheltering in place — embody one form of courage: presence under fire. Those of us abroad are called to embody another: disciplined advocacy, amplification without distortion, and solidarity without self-centeredness.
Shock is inevitable in moments like these. But awe should not be reserved for weaponry or even endurance alone. It should be reserved for the character revealed under pressure—in Israeli civilians who continue building and speaking between sirens; in Iranian civilians whose longing for dignity and safety mirrors our own; and in diaspora communities that refuse to retreat when hostility surges.
Shock may be unavoidable. Passivity is not. If we cannot all stand beneath the same sky, we can at least stand within the same resolve.
That is what responsibility from afar demands.
Dr. Ron Katz is President of the Tel Aviv Institute and leads international efforts to combat antisemitism. He received his PhD from the University of California, Berkeley.