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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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Trump says Syria would do a ‘better job’ of fighting Hezbollah than Israel

(JTA) — Syria would be better at tackling Hezbollah in Lebanon, U.S. President Donald Trump said Tuesday, as Israel’s presence in Lebanon continued to be an Achilles’ heel in the fledgling U.S.-Iran deal set to be formally signed in Geneva on Friday.

Trump said Syrian President Ahmed al-Sharaa, a former leader of an al Qaeda-affiliated group who has fashioned himself as a modern statesman after taking power in 2024, could be more effective and less destructive than Israel has been.

“If Israel can’t do the job without killing everyone else, he will do the job, Syria will do the job,” Trump said in Evian, France, on the sidelines of the G7 Summit.

Trump accused Israel of taking too long to oust the Iranian proxy group from Lebanon, just one day after he said that he himself might intervene by speaking directly with Hezbollah.

Trump also said Tuesday that “regime change” had never been the goal of the war with Iran and described Iran’s current leadership as “rational,” “smart” and “strong.” The president said the deal would prevent Iran from acquiring, building or developing a nuclear weapon.

The Iran deal to end months of hostilities between Washington and Tehran was digitally signed on Sunday, according to Trump’s vice president, JD Vance. Its terms have not been published, but officials have said that it also includes an end to hostilities between Israel and Hezbollah, even though Israel is not a party to the agreement. Separate talks have been held in Washington between Lebanese and Israeli officials toward a peace deal that Hezbollah has so far rejected.

Israel has insisted that its army will remain in southern Lebanon to prevent Hezbollah attacks against communities in northern Israel. Iran’s Foreign Minister Abbas Araghchi told reporters in Tehran on Tuesday that the deal with Washington was contingent on an Israeli withdrawal from Lebanese territory and a halt to the fighting, according to the state-affiliated Press TV.

Trump addressed the issue of Hezbollah on Tuesday in France during a meeting with Qatar’s Emir Sheikh Tamim bin Hamad Al Thani, whose country has been among those playing a mediating role between the U.S. and Iran.

“Israel is fighting Hezbollah too long, and too many people are being killed, and you do not have to knock down an apartment house every time you are looking for someone,” Trump said.

“There are a lot of people in those apartment houses, and they are not all Hezbollah, and I suggested to Israel that Syria should take care of Hezbollah, and to be honest with you, I think they will do a better job at it,” he stated.

Trump downplayed any tension between himself and his ally in Israel, Prime Minister Benjamin Netanyahu, even though he admitted that he had been upset by Netanyahu’s decision to attack Hezbollah in Beirut on Sunday just hours before the Iran deal was announced.

At one point in his remarks Tuesday Trump described the relationship as “unbelievable” and “effective,” and when asked if there was tension between the two leaders, responded “no,” even as he gave examples of how Netanyahu’s handling of Lebanon has frustrated him.

“I didn’t like that two hours before we were signing the agreement … that there was an attack in Lebanon, it was right in Beirut. I did not like it, I let them [Israel] know it,” Trump said, adding that the Hezbollah drone attack on Israel that prompted Israel’s retaliation was minor.

“You can do too much also,” Trump said, explaining that he “was not happy” with how Israel conducted itself in Lebanon, where it should have been “able to do the job faster. It just goes on and on [in a way that] throws a negative light on the big deal.”

Still, Trump said he did not think that Lebanon would derail the agreement with Tehran, describing it as a “minor war.”

Lebanon aside, Israel is concerned that the Iran deal strengthens the Islamic Republic, which it had hoped would be overthrown as a result of the war, and that the deal would allow it to continue to pursue a nuclear and ballistic missile weapons program. That the deal allows for more money to flow to the heavily sanctioned regime has only fueled that concern.

“This deal is a wall to a nuclear weapon,” Trump said, rejecting the idea that U.S. funding was a part of the agreement. “We are not investing any money. We have no obligation to invest any money in Iran,” he said.

Trump underscored the danger to the region and to Israel should Iran become a nuclear power and said the war and this deal prevented that. Echoing comments he has made before, he said, “Without me, Israel would not exist right now.”

This article originally appeared on JTA.org.

The post Trump says Syria would do a ‘better job’ of fighting Hezbollah than Israel appeared first on The Forward.

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In new book, JD Vance says Charlie Kirk warned him about antisemitism on the right

Vice President JD Vance acknowledges a growing strain of anti-Israel sentiment on the American right that has at times slid into outright antisemitism, writing in his new memoir released on Tuesday.

In Communion: Finding My Way Back to Faith, Vance recounts a conversation with conservative activist Charlie Kirk months before he was fatally shot, in which they spoke about two trends Kirk was observing among young conservatives.

“The first was that they were very angry about Israeli influence in American politics,” Vance writes about the phone call in the summer of 2025. “The second was that some were going from legitimate disagreement with the Israeli government to antisemitism.”

According to Vance, Kirk told him that many younger conservatives believed the United States was allowing Israel too much sway over American foreign policy. Vance quotes Kirk as saying that for some, “that concern is turning to anger, and even Jew hatred.”

The passage offers a revealing glimpse into the debate that has intensified inside President Donald Trump’s MAGA movement since the Oct. 7, 2023, Hamas attack and the war in Gaza. While support for Israel remains strong among Republican voters, a growing faction of younger Republicans has become more skeptical of foreign intervention generally and increasingly critical of U.S. support for Israel. A recent Politico poll found that 32% of Trump voters below the age of 35 say the U.S. is too closely aligned with Israel’s government, and nearly half of the president’s voters ages 18 to 34 say there should be distance between the two countries.

Vance, who first gained prominence in 2016 with his best-selling memoir Hillbilly Elegy, has often taken a complicated position in that conversation. A supporter of Israel’s right to defend itself, he has also repeatedly said that the U.S. should define its Middle East policy primarily through an “America First” lens.

During the 2024 presidential campaign and after he was elected vice president, Vance said that the interests of the U.S. are “not always identical.” In recent days, amid disagreements between the U.S. and Israel over a deal to end hostilities with Iran, Vance said in interviews with the media, “Even when we’ve been close partners, sometimes we have interests that are perfectly aligned and sometimes we have interests that are misaligned.”

Vance’s associations with right-wing influencers who have trafficked in antisemitism, and his reluctance to disavow them, have also made some American Jews uncomfortable.

On Tuesday, he is expected to appear on a program hosted by Megyn Kelly, the former Fox News host who is among conservative figures, including Tucker Carson, Candace Owens, Joe Kent and Nick Fuentes, who accuse “Israel-first” advocates of pushing the United States into war with Iran. “Mark Levin wanted it, it’s his war, Ben Shapiro, Lindsey Graham, Miriam Adelson — that’s obvious,” she said in March. “They are the ones who’ve been pushing us into it.” Vance’s expected appearance drew criticism.

In the memoir, Vance writes that Kirk was working to prevent criticism of Israel from developing into bigotry. “He knew the situation was delicate and complicated, and he treated it with genuine care, appealing to the better angels in all of us,” Vance writes. “He did so in his conversations with the president and me, but also in the ways he engaged his massive following.”

The post In new book, JD Vance says Charlie Kirk warned him about antisemitism on the right appeared first on The Forward.

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Trump may be making a classic error in seeking peace with Iran

An assumption has shaped Western thinking about Iran for decades: that the Islamic Republic has similar goals to those of the West, and can therefore be incentivized to integrate into a more stable regional order.

Vice President JD Vance gave that assumption its latest expression when he said a potential new peace agreement between Iran and the United States could “fundamentally transform the Middle East for the next 50 years” — if Iran complies with the deal.

Perhaps he’s right, and Iran is in fact committed, this time, to never again pursuing the creation of nuclear weapons. But the Islamic Republic’s own rhetoric provides serious reasons for skepticism on that front.

Since 1979, the regime has presented itself as the standard-bearer of a revolutionary project. It is not merely a government. It is the self-appointed guardian of a worldview.

That worldview is often expressed through the concept of muqawama, which translates roughly to “resistance.” The term refers to far more than military opposition. It describes a political, religious and civilizational struggle against what the regime views as Western domination, American influence, Israeli sovereignty, and the regional order that emerged during the 20th century.

Ideologies shape behavior. A regime organized around economic growth behaves one way. A regime organized around the concept of revolutionary struggle behaves differently.

Western powers too often forget this truth when it comes to Iran, assuming that its leaders seek prosperity, stability, security and international acceptance. We assume that economic incentives and diplomatic agreements will eventually outweigh ideological commitments.

It is important to distinguish here between the regime and the people it governs. Iran is home to an ancient civilization, a sophisticated culture, and millions of citizens whose aspirations often appear very different from those of their rulers. For nearly half a century, many Iranians have lived under a system they neither created nor freely chose. Waves of protests and dissent have repeatedly suggested that large numbers of Iranians seek a different future — one characterized less by revolutionary struggle and more by ordinary human aspirations like freedom, dignity and connection to the wider world.

Viewed through the lens of muqawama, Iran’s nuclear program, ballistic missile program, proxy armies and regional interventions cease to look like products of separate policies. They become parts of a coherent strategy, manifestations of the same underlying vision: the transformation of the existing regional order.

The obvious question, then, is whether that vision has changed. And if it hasn’t, what does Iranian compliance with this new deal actually mean?

After all, one can honor the terms of an agreement while remaining fully committed to objectives that lie beyond the agreement’s reach. Iran has done so plenty of times in the recent past.

In 2018, Israeli intelligence agents removed a vast archive of nuclear documents from a secret warehouse near Tehran. The archive contained detailed records of weapons-related research and planning, suggesting that the regime viewed this knowledge as valuable, worth preserving and potentially applicable in the future.

Over the years, inspectors evaluating Iran’s nuclear capabilities have repeatedly encountered inconsistencies between Iran’s declarations about its efforts and the evidence before them. Each episode, by itself, may be explainable. Taken together, they paint a picture of a regime that has consistently viewed transparency as something to be managed rather than embraced.

Fordow, the infamous nuclear enrichment facility buried beneath a mountain, was designed by people expecting confrontation. Facilities intended to withstand intensive military attacks — as Fordow has — reveal something about the assumptions of those who build them.

Western policymakers often view negotiations as a path toward resolution. Iran tends, in contrast, to treat them as a strategic opportunity. Every round of talks creates opportunities to reposition and advance. Every agreement creates new debates about interpretation and enforcement that the regime can turn to its advantage.

It may be less useful to think in terms of bad faith than in terms of incentives. The issue is understanding the ambitions of the regime as it understands them. And there are reasons to doubt whether U.S. negotiators hammering out the details of this agreement understand those ambitions correctly.

This raises grave concerns for Israel, which is not a party to the new ceasefire. The nuclear issue is primary, but the ballistic missile program and satellite armies of Hamas, Hezbollah and the Houthis are all pressing problems for the Jewish state. A deal that fails to engage with all parts of that picture will leave Israel in danger.

The United States can afford strategic patience. It sits behind two oceans, far from Iran. Israel cannot. A nation smaller than New Jersey has little margin for catastrophic error. If American assumptions prove mistaken, American policy can be revised. If Israeli assumptions prove mistaken, the consequences are potentially fatal.

This is why many Israelis have expressed outrage at this ceasefire. They’re wondering: If the ideology remains intact; if the missile programs remain intact; if Hezbollah remains intact; if the regime’s revolutionary ambitions remain intact, what exactly has been resolved?

Near-term tension reduction has repeatedly served as a substitute for resolving the underlying threat from Iran’s radical regime. Sanctions relief following the 2015 nuclear deal brokered by then-President Barack Obama eased pressure on the regime while leaving its governing vision untouched. The underlying problem remained.

Muqawama is not merely resistance to particular policies. It is resistance as an organizing principle. Any agreement that ignores that reality risks confusing tactical restraint with strategic change.

The post Trump may be making a classic error in seeking peace with Iran appeared first on The Forward.

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