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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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Nearly 90% of Turkish Opinion Columns Favor Hamas, Study Shows
Pro-Hamas demonstrators in Istanbul, Turkey, carry a banner calling for Israel’s elimination. Photo: Reuters/Dilara Senkaya
About 90 percent of opinion articles published in two of Turkey’s leading media outlets portray the Palestinian terrorist group Hamas in a positive or neutral light, according to a new study, reflecting Ankara’s increasingly hostile stance toward Israel.
Earlier this week, the Israel-based Jewish People Policy Institute released a report examining roughly 15,000 opinion columns in the widely read Turkish newspapers Sabah and Hürriyet, revealing that Hamas is often depicted positively through a “resistance movement” narrative portraying its members as “martyrs.”
For example, Turkish journalist Abdulkadir Selvi, writing in Hürriyet, described the assassinated Hamas leader Ismail Haniyeh as “a holy martyr not only of Palestine but of Islam as a whole” who “fought for peace,” while portraying Israeli Prime Minister Benjamin Netanyahu as “the new Hitler.”
JPPI also found that most articles in these two newspapers took a neutral stance on the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, offering almost no clear condemnation of the attacks and failing to acknowledge the group’s targeting of civilians.
Some journalists even went so far as to praise the violence as serving the Palestinian cause, the study noted.
In one striking example, Hürriyet published an article just one day after the attack, lauding the “resistance fighters” who carried out a “mythic” assault on the “Zionist occupying regime” and celebrating the killings.
In other cases, some journalists went as far as to portray Hamas as treating the Israeli hostages it kidnapped “kindly,” denying that the terrorist group had tortured and sexually abused former captives despite clear evidence.
“There was not the slightest indication that the Israelis released by the Palestinian resistance had been tortured,” Turkish journalist Hilal Kaplan wrote in Sabah, denying claims that the hostages had suffered brutal abuse.
“They all looked exactly the same physically as they did on Oct. 6, 2023, more than a year later,” he continued.
Prof. Yedidia Stern, president of JPPI, described the study’s findings as “deeply troubling,” urging Israeli officials not to overlook the Turkish media’s positive portrayal of Hamas and denial of its abuses.
“We must not normalize incitement and antisemitism anywhere in the world – certainly not when it comes from countries with which Israel maintains diplomatic relations,” Stern said in a statement.
According to the study, nearly half of the columns expressed a positive view of Hamas, while approximately 40 percent took a neutral position.
The analysis also found that around 40 percent of opinion columns mentioning Jews or Judaism contained antisemitic elements, with some invoking “Jewish capital” to suggest global power, while others compared Zionism to Nazism or depicted Jews as immune from international criticism.
For instance, two weeks after the Oct. 7 atrocities, Turkish journalist Nedim Şener wrote in Hürriyet that global Jewish capital and control over media and international institutions had brought the United States and Europe “to their knees,” allowing Israel to carry out a “genocide against Palestinians in Gaza.”
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ADL appoints former head of embattled Gaza aid foundation to its board
The Anti-Defamation League named Rev. Johnnie Moore, who led the controversial Gaza Humanitarian Foundation, to its board of directors last week.
Moore became the public face of the foundation over the summer as it faced blame for hundreds of Palestinian civilians being killed while attempting to access aid at distribution centers that critics said were risky and inefficient.
But the ADL described the foundation, which was created with support from the U.S. and Israeli governments, as a “historic effort to provide nearly 200 million meals for free to the people of Gaza,” in a press release.
The ADL’s leadership has become more protective of Israel in recent years as it has shifted away from its historic work on civil rights issues unrelated to antisemitism. That change included a 2017 reworking of its governance structure, which had been run by a committee of several hundred lay leaders, to a more traditional nonprofit board.
The United Nations reported in August that 859 Palestinians had been killed near the Gaza Humanitarian Foundation sites, mostly by the Israeli military. Doctors Without Borders said that the centers had “morphed into a laboratory of cruelty” with children being shot and civilians crushed in stampedes.
Moore’s role involved defending the organization. He blamed Hamas and the United Nations for causing mass starvation in Gaza and presented the Gaza Humanitarian Foundation as the best means of distributing food to civilians without allowing it to be diverted to militants.
“Hamas has been trying to use the aid situation to advance their ceasefire position,” Moore said during a July presentation to the American Jewish Congress.
The foundation shut down in December.
An evangelical leader and former campaign adviser to President Donald Trump’s with no background in international aid prior to his work with the foundation in Gaza, Moore brings a Christian perspective to the ADL’s board at a time when evangelicals are increasingly divided over Israel and antisemitism. “As a Christian, I consider it a responsibility to stand alongside ADL in this critical moment for the Jewish community and for our nation,” he said in the statement announcing his appointment.
He was appointed alongside Stacie Hartman, an attorney and lay leader based in Chicago, and Matthew Segal, a media entrepreneur who former President Joe Biden named to the U.S. Holocaust Memorial Council. They join a mix of philanthropists and business leaders, including Jonathan Neman, the CEO of salad chain Sweetgreen, and Max Neuberger, the publisher of Jewish Insider.
The post ADL appoints former head of embattled Gaza aid foundation to its board appeared first on The Forward.
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Man Charged With Hate Crime for Car Ramming at Chabad Headquarters in Brooklyn
Police control the scene after a car repeatedly slammed into Chabad World Headquarters in Crown Heights section of Brooklyn. The driver was taken into custody. Photo: ZUMA Press Wire via Reuters Connect
Police in New York City charged a man on Thursday with a hate crime and other charges after he allegedly rammed his car repeatedly into Chabad Lubavitch World Headquarters in Brooklyn.
The suspect, 36-year-old Dan Sohail, has been charged with attempted assault as a hate crime, reckless endangerment as a hate crime, criminal mischief as a hate crime, and aggravated harassment as a hate crime, New York City Police Department (NYPD) Chief of Detectives Joseph Kenny announced at a press conference on Thursday.
“The hate crime right now is that he basically attacked a Jewish institution,” Kenny explained. “This is a synagogue, it was clearly marked as a synagogue, he knew it was a synagogue because he had attended there previously.”
The Chabad-Lubavitch movement is an influential force in Orthodox Judaism that operates around the world. The iconic 770 Eastern Parkway building in the Crown Heights neighborhood of Brooklyn became the world headquarters of the Hassidic movement in 1940.
The NYPD’s Hate Crimes Task Force is leading the investigation into the car ramming.
Sohail is a resident of New Jersey and has no criminal history in New York City, Kenny said. The vehicle he allegedly used on Wednesday night was registered under his name and, earlier this month, Sohail attended an event at the Chabad Lubavitch World Headquarters.
“We believe that he was in Brooklyn last night to continue this attempt to connect with the Lubavitch Jewish community,” Kenny said. Sohail was due in court on Friday.
Footage from the incident showed Sohail drive his vehicle multiple times into the rear door of the 770 Eastern Parkway building in Crown Heights, according to Kenny, who added that the suspect stepped out of his vehicle, removed several blockades from his path, and cleared snow away from a sidewalk before ramming into the building.
Later, when talking to police, Sohail claimed his foot slipped and that he lost control of the car because he was wearing “clunky boots,” Kenny said. No injuries were reported and the damaged synagogue door is currently being repaired, according to Yaacov Behrman, head of public relations at the Chabad Lubavitch World Headquarters.
“It is clear the incident was intentional,” Behrman added. “The attacker removed the metal bollards that typically block the ramp and protect the entrance shortly before driving into the building. The bollards have since been restored.”
The car ramming took place the same day as the 75th anniversary of Rabbi Menachem Mendel Schneerson being chosen as the leader of the Chabad-Lubavitch movement.
Rabbi Yehuda Krinsky, chairman of the Chabad Lubavitch World Headquarters, said in a statement on Thursday night that the incident “underscores a painful and undeniable reality: acts of hate, intimidation, violence, and antisemitic aggression are no longer isolated incidents or abstract threats.”
“Condemnation alone is insufficient. Real deterrence requires prompt, decisive action by the justice system — through swift prosecution and meaningful consequences — to discourage further incidents and ensure public safety,” he said. “As this incident occurred while the anniversary of the beginning of the Rebbe’s leadership was being observed worldwide, we reaffirm our faith that the world is meant to be refined — not ruled by fear or force, but cultivated as a place of moral clarity, responsibility, and goodness. We remain committed to that vision, even in the face of events such as this.”
The ramming incident occurred amid an alarming surge in antisemitic hate crimes across New York City.