Uncategorized
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.
Uncategorized
What It’s Like in Israel — During ‘Operation Lion’s Roar’
An Israeli air defense system intercepts a ballistic missile barrage launched from Iran to central Israel during a missile attack. Photo: Eli Basri / SOPA Images via Reuters Connect
I haven’t been sleeping much.
It starts with an (intentionally) obnoxious screech on your phone that overrides all your “leave me alone” settings, and harangues you that a missile alarm has gone off. The radar and satellite tech behind this disruptive howl is almost magical, but in the moment, no one cares.
Then the promised air raid sirens sound all around: you have 90 seconds to reach a bomb shelter.
Fortunately, there’s a bomb shelter in my building. Some aren’t so lucky: they run down the block to public shelters, or to Tel Aviv’s new underground subway, which was built with this exact scenario in mind.
The attacks come in waves of an hour or two.
Imagine having a baby that wakes you up all day and night, except instead of a baby it’s a homicidal Islamist regime, and instead of wanting to be changed or fed, it wants to kill you.
Emergency notifications from the Israeli Home Front Command indicating the approach of Iranian missiles. Photo: Daniel Pomerantz.
Israel has the most advanced, multi-layered missile defense system in human history, but it’s only about 88% effective — and that remaining 12% takes out entire apartment buildings. Iran already claimed its first victims in Israel and across the region.
This war is horrible, but there are many reasons Israel needed to wage it:
1. Iran is developing nuclear weapons.
This isn’t some Iraq era claim of “WMDs” — we know this is true because (among other reasons) Iran essentially says so. The regime very publicly insists on enriching uranium up to levels that have no possible use other than making warheads, all while paradoxically claiming “peaceful purposes.”
And if all that weren’t enough, Iran hides its “peaceful” nuclear program hundreds of feet under a mountain. Make of that what you will.
2. Iran is also developing ICBMs (intercontinental ballistic missiles) capable of reaching the United States. We know this because (again) the regime says so. A lot. They brag about it. This is not a question mark.
3. Iran’s terror proxies have killed thousands of Americans, Israelis, Europeans, and Arabs, including the Beirut barracks bombing that took the lives of 220 US Marines, and the unimaginable October 7 Massacre in Israel. Claiming that the work of proxies isn’t “really” Iran’s doing this is like hiring a hitman and then claiming that you didn’t “personally” murder anyone.
4. Of course, the greatest victims are the Iranian people, 80% of whom want to overthrow the regime — after 47 years of unimaginable suffering. This regime murdered thousands of its own people just last month, most for protesting, some for using Star Link terminals.
We seem to forget that military might can be used appropriately and effectively.
For every nightmare of intervention, such as Iraq or Afghanistan, there are also success stories, such as Libya, Kosovo, and most recently, Venezuela. And this isn’t even “intervention,” this is self defense. The regime’s President Masoud Pezeshkian declared in December, “we are in a full-fledged war with America, Israel, and Europe,” as Iranian officials continued to scream “Death to America” in the halls of Parliament, and on the streets.
And Iran puts its money where its mouth is: backing up its homicidal rhetoric with actual homicide. Lots of it.
Iran is now spreading a distorted history, claiming that all of its problems can be traced to America. That isn’t true: it’s a psyop, designed to weaponize our democracy against us. One can debate whether America should have helped affect a coup in Iran in 1953, but the leadership America helped bring to power back then (the “Shah”) is the very same leadership whose return the Iranian people are now risking their very lives to demand. America and the Iranian people are completely aligned in this, and the death of Ayatollah Khamenei was met by cheers and celebrations.
Genocidal maniacs have a way of telling us exactly what they plan to do: we ignored Hitler in the run up to World War II, we ignored Al-Qaeda in the years before 9/11, and we now ignore Iran at our peril.
But we’re not ignoring Iran.
We must hope that the people of Iran are ready to take back their country, and institute a new, organized government. It is entirely possible that Iran, the Middle East, and the world at large are on the verge of greater peace and stability than we have seen, or even imagined, in any of our lifetimes.
But we aren’t there yet, and we need the united support of all our allies, and our entire democracy, in order to succeed.
Daniel Pomerantz is the CEO of RealityCheck, an organization dedicated to deepening public conversation through robust research studies and public speaking.
Uncategorized
Family of Former FBI Agent Robert Levinson Demands Iran Be Held ‘Accountable,’ Return His Remains
People walk near a mural featuring images of Iran’s Supreme Leader Ayatollah Ali Khamenei and leader of Iran’s 1979 Islamic Revolution Ayatollah Ruhollah Khomeini, on a street in Tehran, Iran, Feb. 17, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
The family of former FBI agent Robert Levinson, who disappeared in Iran in 2007 and is believed to have died while in Iranian custody, is calling on the Trump administration to make sure Tehran returns his remains and is held “accountable” for its actions following this weekend’s US-Israel airstrikes on the Islamic Republic.
Washington has maintained that Levinson, a retired FBI special agent, was taken by Iranian officials on March 9, 2007, while working as a private contractor for the CIA on the Iranian island of Kish, where he had traveled to meet a source. His family was never informed of what officially happened to the American citizen, but in 2020, the US government officially concluded he had died while in Iran’s custody. The details and circumstances surrounding his death remain unknown. Levinson was a father of seven children.
Levinson’s family issued a statement, shared on social media, following Saturday’s killing of Iranian Supreme Leader Ayatollah Ali Khamenei in the US-Israel airstrikes.
“For nearly 19 years, Iran has lied, obstructed, and refused to answer for the kidnapping, detention, and death of our father, Robert Levinson,” the family said in its statement. “Ayatollah Ali Khamenei led the regime responsible for these crimes. His death does not erase what Iran did to our father, and it does not end our fight for accountability. But it is a significant moment for our family and for every family that has suffered at the hands of this regime’s hostage-taking and wrongful detention.”
“Now Iran must do what it has refused to do for nearly two decades: provide full accountability for what happened to our father, return his remains to our family, and disclose the truth about his kidnapping, imprisonment, and death,” they added. “Our family will not stop demanding the truth. And we will not stop demanding justice.”
The family also expressed gratitude to US President Donald Trump and Secretary of State Marco Rubio “for using the power of the United States to confront Iran and to hold it accountable, including by recognizing and addressing Iran’s long-standing practice of wrongful detention.”
Levinson’s son, Dan Levinson, talked to “Fox & Friends” over the weekend about the need for the Trump administration to pressure Iran to take accountability.
“We’re just looking for answers. We still don’t know what exactly happened to him,” the younger Levinson said of his father. “There was no person more responsible for my father’s fate than Ayatollah Khamenei. At any time he could have waved his hand and had my dad released. He chose not to. We begged and pleaded. We sent so many letters. I went over there twice asking for a meeting and his people rebuffed us. Ignored us.”
Levinson said there is still a $25 million reward for information leading to the recovery and return of his father’s remains.
In March 2025, the United States imposed sanctions on three Iranian intelligence officers for their alleged involvement in Levinson’s disappearance.
In December 2020, the US Treasury Department’s Office of Foreign Assets Control sanctioned two other Iranian officials who are accused of authorizing Levinson’s 2007 abduction. The FBI released posters seeking information about them last year.
Uncategorized
The Jewish space lasers are real — well, kind of
Everyone made fun of Marjorie Taylor Greene when she said that Rothschild-funded space lasers had caused forest fires.
But, as it turns out, the space lasers are real. Well, sort of. They aren’t starting forest fires or causing major weather events, as Greene claimed in her post. Israel does, however, have a laser that shoots in the general direction of space. But that’s enough for some conspiracy theorists to feel vindicated.
“No longer a ‘Conspiracy Theory.’ Israel just used a Directed Energy Weapon (DEWs),” reads one viral tweet about the lasers. “During Biden’s term the media worked relentlessly to Fact Check these weapons as conspiracy theories.”
Indeed, as Israel and Iran exchanged missiles over the weekend, videos circulated online purporting to show Israel shooting down missiles using a laser. In the video, missiles launched by Hezbollah from southern Lebanon, near the border with Israel, appear to flame out moments after taking off. (Israel has yet to officially confirm that the rockets were shot down by lasers, and the videos aren’t definitive; the missiles could have been defective and burned out on launch.)
But it is true that Israel has been working on defensive lasers for years. In 2022, Prime Minister Naftali Bennett said, “We have successfully completed a series of tests on our new ‘Iron Beam’ laser air defense system. This may sound like science fiction, but it’s real.” The laser system was reportedly delivered and deployed across Israel in December.
“It has nothing to do with the ‘Jewish space laser’ conspiracy theory,” said Mike Rothschild, a researcher on extremism and author of Jewish Space Lasers: The Rothschilds and 200 Years of Conspiracy Theories. “Conspiracy theorists often take real or in-development technology and twist it around for their own purposes.”
The laser works by shooting a grouping of small beams toward the projectile it is attempting to destroy, explains a report on the system’s development in National Defense Magazine. When one hits its target, the beams concentrate on the target until it is incinerated.
The lasers are less effective than the existing Iron Dome system, which works by intercepting missiles with other missiles and exploding them before they hit the ground. The laser can only reach missiles within about a 10 kilometer range, and, like any beam of light, can be blocked by terrain or atmospheric conditions like haze or clouds. On the other hand, the lasers are cheap to use, since they don’t require a ballistic missile for each engagement, and, for the same reason, they cause less collateral damage from falling debris.
The existence of the laser and its first — or first public — deployment has plenty of people joking about Jewish space lasers being real, and apologizing to Greene, though the Iron Beam has little to do with Greene’s allegations of a laser used to start targeted forest fires for government profit.
Conspiracy theorists may be crowing about the supposedly huge secret they’ve uncovered. But the laser isn’t secret at all. The Iron Beam is a well-funded and well-publicized project that has been in development for years, funded by both the U.S. and Israel. The first model was unveiled in 2014 at the Singapore Air Show. Smaller versions have been used to shoot down drones at close range for the past several years.
The aura of secrecy is key to the world of conspiracy theories. If antisemites can frame anything done by Jews or Israel as an underground, hidden project, it gains an undertone of corruption and danger.
The Iron Beam, however, has its own Wikipedia page. It features 40 sources — which means there are at least 40 other articles, going back over a decade, about the laser defense device. If you think that’s a secret, you’re just not paying attention.
The post The Jewish space lasers are real — well, kind of appeared first on The Forward.