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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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Imam-led walkout over Jewish participant at CUNY interfaith event draws wide condemnation

(JTA) — Jewish groups and government officials are condemning an incident at a recent interfaith event held on the campus of the City College of New York, at which a Muslim leader reportedly led a student walkout against the Hillel director after saying he refused to be “sitting next to a Zionist.”

The incident took place last week and was first reported Wednesday by the Times of Israel, which obtained a recording of the event hosted by the college’s Office of Student Inclusion Initiatives.

The imam let loose a series of remarks about Shariah law and “the filthy rich” before stating, “I came here to this event not knowing that I would be sitting next to a Zionist and this is something I’m not going to accept. My people are being killed right now in Gaza.”

He then added, “If you’re a Muslim, out of strength and dignity, I ask you to exit this room immediately.” Roughly 100 Muslim students followed him out the door, according to the report, and the chaplain hosting the event expressed disbelief.

“This is not dialogue — it is harassment,” the Anti-Defamation League’s New York chapter wrote on the social network X. The chapter’s director Scott Richman called the incident “a truly disgusting display of raw antisemitism not only by the imam but by the huge crowd of people there for an interfaith event who followed him out the door because a Jew was present.”

“We unequivocally condemn this gross display of antisemitism at City College of New York,” the Nexus Project, a progressive-leaning antisemitism watchdog group, wrote on social media.

New York Gov. Kathy Hochul blasted the walkout as “antisemitism, plain and simple,” adding, “No one should be singled out, targeted, or shamed because they are Jewish.” She urged the City University of New York, the public university system that includes the campus, “to act swiftly to ensure accountability and protect every student’s safety.”

Hochul’s Republican opponent in next year’s governor race, Rep. Elise Stefanik, called CUNY “a hotbed of antisemitism.”

The federal Department of Justice, which has used its authority to pressure universities to quash antisemitism, also has an eye on the situation. “This is deeply concerning,” tweeted Associate Attorney General Harmeet Dhillon. “@CivilRights has questions and will look into this!”

The Hillel at City College, in an email to members, wrote, “Our concern is with one individual’s extremist rhetoric—not with Islam, not with Muslim students, and not with interfaith engagement itself.” It added that it was confident that City College would “respond appropriately” to the incident.

CUNY said it was aware of the incident and was investigating.

Jewish Insider later identified the Muslim speaker, who had identified himself only as “Abdullah” on the recording, as Abdullah Mady, a recent psychology graduate of the school who stayed on to pursue a master’s degree in medical translation. In a biography published online by his department, accompanied by a photograph in which he is wearing a keffiyeh, Mady says he aims to become a doctor.

Ilya Bratman, who runs the Hillel that serves City College as well as several other local public and private schools, told the Times of Israel that he was in attendance but that there were not many other Jewish students present because the Hillel had been hosting a talk with a Holocaust survivor in another room in the same building.

One Jewish student who was in attendance told the moderator after the walkout, “You’re in shock? We’re not, we’re used to it.”

The post Imam-led walkout over Jewish participant at CUNY interfaith event draws wide condemnation appeared first on The Forward.

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Kaploun leans on personal story and Holocaust education in bid to become Trump’s antisemitism envoy

(JTA) — Rabbi Yehuda Kaploun, President Donald Trump’s nominee to serve as U.S. antisemitism envoy, pledged to elevate Holocaust education and combat what he called a “global problem” of ignorance-driven antisemitism during a Senate confirmation hearing on Wednesday, while sidestepping the more partisan controversies that prompted a rebuke from a group of House Democrats ahead of the session.

“Together with bipartisan support, we must educate the world to respect one another,” Kaploun told the Senate Foreign Relations Committee in an opening statement that drew heavily on his personal encounters with antisemitism — from childhood taunts in Brooklyn to the Crown Heights riots and the deaths of family members on 9/11 and Oct. 7.

“I pledge to all of you here, I will not waver and I will not rest … to fight antisemitism everywhere and to make this world a better arena for God to dwell,” he said.

Kaploun, a Hasidic rabbi, Miami-based businessman and Trump ally, cast antisemitism as “a symbol of a larger hatred” and warned that societies that tolerate it invite broader violence.

He emphasized repeatedly that the core of the job must be education — of Holocaust history, of Jewish life in America and of the “Judeo-Christian values our country was founded on.”

But committee Democrats pressed him on political issues, including the administration’s muted response to a friendly interview that right-wing commentator Tucker Carlson recently conducted with Nick Fuentes, a antisemitic influencer. Asked whether Trump’s comments about Carlson — praising him while declining to denounce Fuentes — were appropriate, Kaploun responded by stressing freedom of speech while asserting that the administration is clear in condemning antisemitism.

“You have a right to hate, but we have a right to explain and stand up and abhor everything that you say,” he said, adding that he believes in condemning antisemitic remarks “whenever they need to be condemned” while maintaining free expression rights.

The exchange came a day after 18 House Democrats urged the Senate to reject Kaploun’s nomination, citing his past comments about Democrats and his failure to publicly challenge Trump’s use of antisemitic tropes during the 2024 campaign. The letter also highlighted past litigation involving Kaploun in Miami, previously reported by the Jewish Telegraphic Agency.

Kaploun pointed to the International Holocaust Remembrance Alliance’s working definition of antisemitism when asked about distinguishing antisemitism from criticism of Israel. “Anyone has a right to criticize Israel,” but singling out the country while ignoring other global issues can cross the line, he said.

Outside groups were divided on Kaploun. In a letter to the committee, Orthodox Union Advocacy Center leaders Nathan Diament and Isaac Pretter did not explicitly endorse Kaploun but said he is “familiar with the issues facing Jews around the world” and has shown a willingness to work across the aisle, including by co-authoring a JTA op-ed earlier this year with the two previous antisemitism envoys.  But another national Jewish group, the liberal Zionist New Jewish Network, came out in direct opposition and called on senators to reject the nomination. “The administration’s weaponization of antisemitism has been appalling. Confirmation of Rabbi Kaploun adds insult to injury,” wrote the group’s CEO, Hadar Susskind.

The committee has not yet scheduled a vote on the nomination.

The post Kaploun leans on personal story and Holocaust education in bid to become Trump’s antisemitism envoy appeared first on The Forward.

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Amid Push for Gaza Role, Palestinian Authority Continues Paying Terrorists, Teaching Antisemitic Hatred

Palestinian Authority President Mahmoud Abbas looks on as he visits the Istishari Cancer Center in Ramallah, in the West Bank, May 14, 2025. Photo: REUTERS/Mohammed Torokman

As Western powers push for the Palestinian Authority to take a leading role in post-war Gaza, the government body has not delivered on promises of reform, continuing payments to terrorists and using school textbooks that glorify violence, demonize Israelis, and promote antisemitic themes.

On Wednesday, Israeli Foreign Minister Gideon Saar denounced the Palestinian Authority (PA) for nearly doubling its payments under its so-called “pay-for-slay” program — from $144 million in 2024 to $214 million so far in 2025 — despite the PA’s repeated promises of reform.

“The Palestinian Authority hasn’t stopped its payments of salaries to terrorists and their families. In fact, it is nearly doubling them,” the top Israeli diplomat said in a post on X. 

“I call on Europe and the world to hold the PA accountable for funding terrorism. Stop Pay-for-Slay NOW!” he continued. 

Even though PA President Mahmoud Abbas announced plans to reform the system earlier this year, new media reports reveal that Palestinian leadership has continued to issue payments.

The European Union (EU) is now demanding clarification on whether the “pay-for-slay” program is still operating through bypass channels, according to Euronews.

Western countries have been pushing for the PA to undergo internal reforms, aiming for the group to take control of Gaza after the war under the US-backed peace plan, despite strong Israeli objections.

The PA, which has long been riddled with accusations of corruption, has also maintained for years the “pay-for-slay” program, which rewards terrorists and their families for carrying out attacks against Israelis. 

Under the policy, the Palestinian Authority Martyr’s Fund makes official payments to Palestinian prisoners held in Israeli jails, the families of “martyrs” killed in attacks on Israelis, and injured Palestinian terrorists. 

Reports estimate that approximately 8 percent of the PA’s budget is allocated to paying stipends to convicted terrorists and their families.

This week, Israeli officials visited Brussels to present evidence to the bloc that the old “pay-for-slay” program is still operating and may be using funds that EU member states had originally donated for other purposes.

“We understand that a recent payment has been made to the families of prisoners, based on a previous scheme. We profoundly regret this decision, as this seems to go against prior announcements,” the EU Commission told Euronews.

However, the European bloc rejected any suggestion that its funds were involved in the recent payments.

“EU support to the PA is linked to its efforts to pursue the reform agenda,” the EU Commission said.

For years, the EU has been the largest provider of external assistance to the group, allocating approximately $1.47 billion bilaterally between 2021 and 2024.

As the international community seeks to chart a path for Gaza’s reconstruction after the Israel-Hamas war, the PA is maneuvering to take a leading role in the war-torn enclave, despite Israeli objections and with the backing of Western powers — a move that experts say is unlikely to succeed given the PA’s lack of credibility and support for terrorism against Israel.

Along with pledging to reform the “pay-for-slay” program, Abbas has also repeatedly reaffirmed his commitment to long-promised administrative reforms, even saying he intends to hold presidential and general elections after the war under international supervision.

The PA leader was elected to a four-year term in 2005, and he has not held elections since then.

Beyond payments to terrorists, the PA has also repeatedly promised Western powers to reform its school textbooks, which for years have notoriously promoted antisemitism and hatred for Israel. 

Despite the PA’s promises, its textbooks continue to glorify violence, demonize Israelis, propagate antisemitic themes, and promote an exclusivist nationalist narrative.

On Wednesday, the Institute for Monitoring Peace and Cultural Tolerance in School Education (IMPACT-se), a nonprofit organization that analyzes schoolbooks and curricula around the world, released a new study analyzing 290 textbooks and 71 teachers’ guides used across multiple grades, finding that not a single reform has been made to address previous problematic content that promotes violence and incites hatred.

For years, PA-issued textbooks have been criticized for promoting extremism and undermining efforts to encourage peaceful coexistence with Israelis.

According to the newly released report, the textbooks’ content remains unchanged despite the PA’s explicit promises to reform the curriculum and public assurances from European officials that such reforms were underway.

IMPACT-se CEO Marcus Sheff said the findings “expose a stark and disturbing reality.”

“Virulent antisemitism, the glorification of jihad, and incitement to violence remain deeply embedded across all grades of Palestinian Authority textbooks,” Sheff said in a statement.

For example, Jews and Israelis continue to be portrayed as inherently evil, manipulative, corrupt, or as enemies of Islam, perpetuating deeply rooted antisemitic stereotypes, while the demonization of Israel remains a persistent and striking theme throughout the textbooks.

An 11th-grade history textbook features a cartoon with antisemitic imagery portraying Jews as controlling the world, including a black-and-white image labeled “cultural colonialism” showing two arms gripping a globe — one holding an American flag, the other an Israeli flag.

In a 10th-grade history textbook, it is claimed that after World War II, “the Zionists hoped the US would support the establishment of their national homeland in Palestine — by exploiting their political, media and financial influence in the United States.”

Another example comes from a 9th-grade civics textbook, which claims that Israel “deliberately releases herds of pigs” to damage Palestinian crops and undermine the Palestinian economy.

The newly released study also warns that the textbooks promote and justify violence against Jews and Israelis, fostering a culture of aggression and hostility.

In an 11th-grade history textbook, the 1972 Munich Olympics massacre — where 11 Israeli athletes and delegation members were killed — is depicted as a legitimate form of Palestinian resistance.

“The Palestinian resistance resorted to many methods in its struggle against the Zionist occupation. The fedayeen primarily used guerrilla warfare inside Palestinian territories, and also struck Zionist interests abroad — such as the Munich operation in 1972,” the book says.

According to the IMPACT-SE report, references to Jewish history and Israeli-Arab diplomatic efforts have been completely removed from the 2025–2026 textbooks, with any content promoting non-violence or compromise absent and the Holocaust entirely ignored.

The PA had committed to curriculum reforms earlier this year in order to secure over $462 million in economic support from the European Union, contingent on meeting specific education-related benchmarks.

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