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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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Suspect in Michigan synagogue attack identified as Ayman Ghazali, an immigrant from Lebanon
(JTA) — The Department of Homeland Security has identified the man killed while attacking a suburban Detroit synagogue as Ayman Mohamad Ghazali, a U.S. citizen who immigrated from Lebanon 15 years ago.
Ghazali, 41, was a resident of Dearborn Heights, Michigan, according to its mayor, Mo Baydoun. Baydoun said in a statement that members of Ghazali’s family, including his niece and nephew, had recently been killed “in an Israeli attack on their home in Lebanon.”
Ghazali was shot by security after driving an explosives-laden truck into Temple Israel in West Bloomfield, a heavily Jewish suburb about 20 miles north of his home.
DHS said Ghazali had entered the United States in 2011 on a visa meant for the foreign-born spouses of American citizens. He became a U.S. citizen in 2016 after applying for naturalization in 2015.
Ghazali worked at a popular restaurant in Dearborn Heights, Hamido, but had been absent in recent weeks, fellow employees told The New York Times. Coworkers and a neighbor praised him to the Detroit Free Press, with the neighbor saying she had planned to bring him flowers because his brother had died.
Law enforcement officials in Michigan said they were still investigating Ghazali’s motive. But reports on social media tied him to four people with the last name Ghazali, including a young boy and girl, who a Lebanese news outlet reported were killed on March 5 in Mashghara, Lebanon. Al Jazeera reported at the time that the family was killed in an “Israeli army raid on a house.” The raid took place three days after the Israeli army urged residents of Mashghara, a Hezbollah stronghold, to evacuate buildings used by Hezbollah.
Israel has long battled Hezbollah, an Iranian proxy in Lebanon, in a conflict that has escalated this month after Hezbollah resumed firing on Israel after Israel and the United States attacked Iran. The Lebanese government said on Thursday that 98 children were among the nearly 700 people killed since March 2. Israel says it is targeting Hezbollah strongholds, including in densely packed Beirut.
A recent poll of “connected” American Jews — those affiliated with synagogues and Jewish organizations — found that while the majority supported the war, most also believed it would increase antisemitism and anti-Israel sentiment in the United States.
Officials identified the perpetrator of a second incident on Thursday, a shooting at Old Dominion University in Virginia that killed a member of the ROTC army corps, as Mohamed Bailor Jalloh, a naturalized citizen who previously spent more than seven years in prison after being convicted of attempting to provide aid to the Islamic State terrorist group.
Authorities in Norway, meanwhile, said they had determined that two men whose behavior had ignited a major police response outside a Trondheim synagogue on Thursday posed no threat.
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A gunman attacked a Michigan synagogue. Here’s what happens to the community next
On Thursday, a driver rammed his pickup truck into Temple Israel in West Bloomfield Hills, Mich., a large Reform Temple about 25 miles from downtown Detroit. Blessedly, there were no casualties besides the shooter, whom security guards rapidly engaged. One guard was injured. Aside from that, everyone who was inside the synagogue, including 140 children attending school there, was unscathed.
“There’s hopeful news and there’s sad news about the aftermaths of these shootings,” said Mark Oppenheimer, author of Squirrel Hill: The Tree of Life Synagogue Shooting and the Soul of a Neighborhood, a methodical, lyrical look at what happened to the Pittsburgh neighborhood shattered by the Oct. 27, 2018 shooting that left 11 people dead.
The hopeful news is that older, established Jewish communities can rely on close, long-established bonds within and outside the community to get them through.
The sad news is that people unaffected by the shooting tend to move on and forget.
“So whereas this will haunt the Jewish community for years,” Oppenheimer told me in a phone interview, “most people outside the Jewish community will quickly move on to whatever the next horrible incident is.”
What happens next
Authorities have not confirmed the attacker’s motive, although he has been identified as a Michigan man who was born in Lebanon. But among all the unknowns, we do know a few things for certain.
We know that a great tragedy was averted due to the guards’ bravery and expertise, and due to the planning and preparation of synagogue leadership.
We know such attacks have gone from being extremely rare in the United States, to being more frequent.
And we know that what happens now, in the aftermath, matters a great deal.
That’s why, in writing about the worst mass shooting in American Jewish history, Oppenheimer spent most of his time researching what came after the atrocity.
“When the cameras and the police tape were gone, what stayed behind?”Oppenheimer, who teaches at Washington University’s John C. Danforth Center on Religion and Politics, wrote in the book’s introduction.
The power of connection
Both the Tree of Life synagogue and Temple Israel are older, deeply entrenched congregations with close ties to a number of local communities — Jewish and non-Jewish alike.
In one chapter of Squirrel Hill titled, simply, “Gentiles,” Oppenheimer chronicles how non-Jews came to the aid of the stricken congregation, including clergy, politicians and neighbors.
Emblematic of that was the capacity crowd of 2,500 people that came together at Soldiers and Sailors auditorium on the one-year anniversary of the shooting, where law enforcement, politicians and Christian, Muslim and Jewish clergy all spoke.
“There are usually people in government, in community organizations, in neighborhood organizations, who reach out, who want the Jews to know that they’re not alone,” said Oppenheimer.
Evidence of such connection was already on show in Michigan on Thursday. One reporter interviewed a woman praying outside the synagogue, who said, through tears, that the “Holy Spirit” had told her to turn her car around once she saw police cars racing past her to the scene, and go lend support.
In Pittsburgh, the 2018 shooting was also a time for the Jewish community itself to come together.
Squirrel Hill’s close-knit Jewish community crossed denominational divides to show support. An Orthodox rabbi organized a spreadsheet to manage the 24-hour vigils Jewish law prescribes over the bodies of the dead prior to burial.
“In Squirrel Hill, one of the nice things is there is a lot of community and solidarity across denominational lines and levels of observance,” said Oppenheimer, “and that’s pretty rare in American Judaism. It’ll be interesting to see how that plays out in Detroit.”
A new reality
Iin recent years, the need for solidarity and resilience in the face of such attacks has become, unfortunately, more apparent.
When Oppenheimer wrote his book, he was able to state the shooting was “a unique event” in American history. It’s true that until the Tree of Life massacre, antisemitic violence had claimed just 26 lives in U.S. history. The U.S., more than any Western country, and far more than Israel itself, had truly been a safe haven for Jews.
Since Squirrel Hill, six more people have died in four attacks. The previously well-earned sense of safety has been shattered.
“While the odds that any given Jew will be attacked remain quite low, it is obviously pretty terrifying,” said Oppenheimer.
Some critics of the national focus that fell on Squirrel Hill after the Tree of Life shooting argued that the tragedy got far more attention than similar mass shootings that had befallen non-Jewish communities.
But it’s the very rarity of these attacks that makes them so shocking and, at least for American Jews, so memorable.
In this new normal, it’s even more important for Jews to form strong, mutually supportive bonds among themselves, and with others.
And the world moves on
Those bonds are especially crucial because while the victims of violence don’t soon forget and move on, the world does.
“It’s a short burst of solidarity, and then people leave. Understandably so,” Oppenheimer said.
I suspect that even though prayers of gratitude and deliverance will echo through the sanctuaries of Detroit — and in Jewish hearts everywhere — the attack will haunt its intended victims long after the police tape comes down.
What will make the difference in how the community faces those fears and moves forward is the amount of support it receives from those outside it. If the broader Bloomfield and Detroit community refuses to forget this awful incident, it will change the course of healing.
I asked Oppenheimer what lesson he learned from the Tree of Life aftermath could apply to Temple Israel.
“In Pittsburgh, there was a long history of people showing up for each other,” he said Oppenheimer. “The relationships, or lack of relationships, that exist become more noticeable when something goes wrong.”
“Where there are strong ties before a shooting, there are strong ties afterwards.”
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Political standoff causing DHS shutdown delays security grants for synagogues
(JTA) — A shutdown at the Department of Homeland Security since Feb. 14 is halting the review of millions of dollars in security funding for nonprofits, leaving Jewish institutions and other vulnerable groups in limbo at a moment of heightened concern about antisemitic threats.
The most recent threat came Thursday when an armed assailant rammed his vehicle into a large synagogue in suburban Detroit, where trained security forces shot at him and he was killed before he could injure anyone.
The closure stems from a political standoff over immigration enforcement: Senate Democrats are refusing to fund DHS unless the bill includes new oversight and limits on ICE operations, while Republicans and the Trump administration insist on passing funding without those changes. The dispute intensified after the killings of U.S. citizens during recent immigration operations.
Applications for the federal Nonprofit Security Grant Program, which helps synagogues, schools and community centers pay for security guards, cameras, reinforced doors and other protections were due Feb. 1 But because the program is administered through the Federal Emergency Management Agency, a component of DHS, the ongoing shutdown has frozen the process before applications could be reviewed. An effort to end the shutdown failed in the Senate on Thursday.
That means organizations that spent months preparing proposals are now waiting indefinitely to learn whether they will receive funding, at a time of rising anxiety and threats.
The grant program has become a cornerstone of security planning for Jewish institutions across the United States, especially in the wake of sometimes deadly attacks. Demand for the grants has surged in recent years as antisemitic incidents have climbed and security costs have soared.
According to data from the Anti-Defamation League, antisemitic incidents in the United States have reached historic highs in recent years, with Jewish institutions frequently targeted with threats, vandalism and harassment. Community leaders say the uncertainty surrounding the grants is arriving at precisely the wrong moment.
The NSGP is designed to distribute hundreds of millions of dollars annually to nonprofits considered at high risk of attack. Organizations submit detailed applications outlining their vulnerabilities and the security improvements they hope to fund, which FEMA then reviews and awards through state agencies.
But during a federal shutdown, most DHS personnel responsible for reviewing those applications are furloughed. As a result, the process has effectively stalled.
For many nonprofits, the delay creates practical and financial uncertainty. Security upgrades such as surveillance systems, bollards, access-control systems and trained guards often depend on the grants, and institutions typically plan their budgets around the expectation of federal support.
Jewish communal security groups say the program has been one of the most successful federal efforts to help protect religious institutions. Michael Masters, CEO of the Secure Community Network, a Jewish security nonprofit, said Jewish organizations rely on federal funding to cover essential security needs, saying that it was “a challenge” that DHS was currently not processing security grant applications.
“There’s no other faith-based community in the United States that needs to spend $760 million a year, at a minimum, on security that we do,” Masters said. “That’s a reality of the threat environment that we have to adapt to, that we have adapted to.”
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