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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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Syria Tightens Grip After Kurdish Pullback, Says Islamic State Prisoners Escape
Military members gather near Raqqa prison, where the Syrian army is besieging SDF members after the army took control of the city of Raqqa, Syria, Jan. 19, 2026. Photo: REUTERS/Mahmoud Hassano
Syrian government troops tightened their grip on Monday across a swathe of northern and eastern territory after it was abruptly abandoned by Kurdish forces in a dramatic shift that has consolidated President Ahmed al-Sharaa’s rule.
A day after the Kurdish-led Syrian Democratic Forces (SDF), once the main US ally in Syria, agreed to quit large areas under a ceasefire, the Syrian army said “a number of” Islamic State terrorists had escaped a prison that had been under SDF control in the eastern city of Shaddadi, accusing the SDF of releasing them.
The SDF said it had lost control of the prison following an attack by government fighters. The Syrian army denied attacking the jail and said its forces would work to secure the prison and re-arrest the escapees.
The SDF said Shaddadi prison had held thousands of militants. The army did not say how many IS detainees had fled.
The SDF withdrawals mark the biggest change in Syria‘s control map since Islamist fighters led by Sharaa toppled President Bashar al-Assad in 2024, tilting the power balance Sharaa’s way after months of deadlock in talks with the SDF over government demands its forces merge fully with Damascus.
After days of fighting with government forces, the SDF agreed on Sunday to withdraw from both Raqqa and Deir al-Zor – two Arab-majority provinces they had controlled for years and the location of Syria‘s main oil fields.
GOVERNMENT TROOPS DEPLOY AT OILFIELD, IN RAQQA
Turkey, which has repeatedly sent forces into northern Syria to curb Kurdish power since 2016, welcomed the deal signed by its ally Sharaa and SDF commander Mazloum Abdi. Turkish President Tayyip Erdogan urged the swift implementation of the agreement that requires the full integration of Kurdish fighters into Syria‘s armed forces.
The SDF, spearheaded by the Kurdish YPG militia, had established control of a quarter or more of Syria during the 2011-2024 civil war, whilst fighting with the support of US troops against Islamic State. The United States, which has since established close ties with Sharaa under President Donald Trump, has been closely involved in mediation between the sides.
The SDF media office said in a statement that the prison at Shaddadi – one of three under its control in the Hasakah region – had come under repeated attack by “Damascus factions,” and that dozens of SDF fighters were killed or wounded defending it.
The statement added that the US-led coalition against Islamic State had not intervened despite repeated appeals to a nearby coalition base. The US military’s Central Command did not immediately respond to an emailed request for comment.
In its denial of the SDF account, the Syrian Ministry of Defense said army forces had bypassed Shaddadi, in line with deployment plans, and offered aid to SDF forces inside. The Syrian army announced it had established control over the city of Shaddadi and the prison.
The Syrian Defense Ministry also denied an SDF account of clashes between government and SDF forces near a jail in Raqqa, which the SDF said was holding IS inmates. It said the army had arrived “at the vicinity of al-Aqtan prison … and began securing it and its surroundings despite the presence of SDF forces inside”.
The SDF said nine of its fighters were killed and 20 wounded in clashes around al-Aqtan.
Hasakah province, which largely remains under SDF control, is home to the Kurdish-majority city of Qamishli, the main prisons holding Islamic State detainees, and a camp holding thousands of IS-linked prisoners.
GOVERNMENT FORCES DEPLOY
Reuters journalists saw government forces deployed in the city of Raqqa that the SDF had captured from Islamic State in 2017, and at oil and gas facilities in the eastern province of Deir al-Zor – both areas the Kurdish forces had held for years.
It follows the withdrawal of Kurdish forces from districts of Aleppo city they had controlled for years after fighting there earlier this month.
The 14-point deal published by Syria‘s presidency showed Abdi’s signature alongside Sharaa’s.
It stipulates that the prisons, along with all border crossings and oil and gas fields, would be handed to government control – steps the SDF had long resisted.
The timing of the handover of the prisons and camps was not announced.
Abdi, the SDF commander, confirmed on Sunday that the SDF had agreed to withdraw from Deir al-Zor and Raqqa provinces.
Abdi said he is set to meet Sharaa in Damascus on Monday and would share the details of the agreement with the public after his return to SDF-held territory, Kurdish media reported.
The deal says that all SDF forces will be merged into the defense and interior ministries as “individuals” and not as units, as the SDF had sought.
It commits the SDF to expel all non-Syrian figures affiliated to the Kurdistan Workers’ Party (PKK), a Kurdish militant group which fought a decades-long insurgency in Turkey.
Senior figures from Erdogan’s ruling AK Party said this removed a major obstacle to Turkey’s peace process with PKK militants.
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Israeli Government Sends 2026 Budget to Parliament, Approval at Risk From Rifts
A drone view of Jerusalem with the Knesset, the Israeli parliament, in Jerusalem, Feb. 4, 2025. Photo: REUTERS/Ilan Rosenberg
Israel’s Finance Ministry said on Monday it delivered the 2026 state budget draft to parliament ahead of a preliminary vote on Wednesday, though the plan’s prospects are clouded by political fractures that have strained the ruling coalition.
Delayed by political infighting, the cabinet last month approved the spending plan for this year after defense outlays were raised to 112 billion shekels ($35.45 billion) from an initial 90 billion.
The budget, as well as an accompanying economic plan, faces an uphill battle for approval as the government has become increasingly polarized. By law it must be approved by the end of March or an election would be triggered.
If approved on Wednesday, the budget will head to parliament‘s finance committee where it could undergo changes before its final two votes in the plenum.
For more than two years parties in the ruling coalition have splintered over the war in Gaza, the ceasefire that has halted it, and demands by ultra-Orthodox Jewish parties to exempt Jewish seminary students from mandatory military service.
In all, state spending would be 662 billion shekels excluding debt servicing. The deficit ceiling was set at 3.9% of gross domestic product, a level the Bank of Israel deems as too high since it does not allow for a reduction in the debt burden.
The budget deficit slipped to 4.7% of GDP in 2025 from 6.8% in 2023. A spike in defense costs due to the Gaza war pushed the deficit higher the past two years.
While the ceasefire has halted most fighting, it has not stopped entirely, and both sides have accused one another of violating the deal’s provisions.
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Iran to Consider Lifting Internet Ban as Brutal Crackdown Quells Protests; State TV Hacked
An Iranian woman walks on a street in Tehran, Iran, Jan. 19, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Iran may lift its internet blackout in a few days, a senior parliament member said on Monday, after authorities shut communications while they used massive force to crush protests in the worst domestic unrest since the 1979 Islamic Revolution.
In the latest sign of weakness in the authorities’ control, state television appeared to be hacked late on Sunday, briefly showing speeches by US President Donald Trump and the exiled son of Iran‘s last shah calling on the public to revolt.
Iran‘s streets have largely been quiet for a week, authorities and social media posts indicated, since anti-government protests that began in late December were put down in three days of mass violence.
An Iranian official told Reuters on condition of anonymity that the confirmed death toll was more than 5,000, including 500 members of the security forces, with some of the worst unrest taking place in ethnic Kurdish areas in the northwest. Western-based Iranian rights groups also say thousands were killed.
ARRESTS REPORTED TO BE CONTINUING
US-based Iranian Kurdish rights group HRANA reported on Monday that a significant number of injuries to protesters came from pellet fire to the face and chest that led to blindings, internal bleeding, and organ injuries.
State television reported arrests continuing across Iran on Sunday, including Tehran, Kerman in the south, and Semnan just east of the capital. It said those detained included agents of what it called Israeli terrorist groups.
Opponents accuse the authorities of opening fire on peaceful demonstrators to crush dissent. Iran‘s clerical rulers say armed crowds encouraged by foreign enemies attacked hospitals and mosques.
The death tolls dwarf those of previous bouts of anti-government unrest put down by the authorities in 2022 and 2009. The violence drew repeated threats from Trump to intervene militarily, although he has backed off since the large-scale killing stopped.
Trump’s warnings raised fears among Gulf Arab states of a wider escalation, and they conducted intense diplomacy with Washington and Tehran. Iran‘s ambassador to Saudi Arabia Alireza Enayati said on Monday that “igniting any conflict will have consequences for the entire region.”
INTERNET TO RETURN WHEN ‘CONDITIONS ARE APPROPRIATE’
Iranian communications including internet and international phone lines were largely stopped in the days leading up to the worst unrest. The blackout has since partially eased, allowing accounts of widespread attacks on protesters to emerge.
The internet monitoring group Netblocks said on Monday that metrics showed national connectivity remained minimal, but that a “filternet” with managed restrictions was allowing some messages through, suggesting authorities were testing a more heavily filtered internet.
Ebrahim Azizi, the head of parliament’s National Security and Foreign Policy Committee, said top security bodies would decide on restoring internet in the coming days, with service resuming “as soon as security conditions are appropriate.”
Another parliament member, hardliner Hamid Rasaei, said authorities should have listened to earlier complaints by Supreme Leader Ali Khamenei about “lax cyberspace.”
During Sunday’s apparent hack into state television, screens broadcast a segment lasting several minutes with the on-screen headline “the real news of the Iranian national revolution.”
It included messages from Reza Pahlavi, the US-based son of Iran‘s last shah, calling for a revolt to overthrow rule by the Shi’ite Muslim clerics who have run the country since the 1979 revolution that toppled his father.
Pahlavi has emerged as a prominent opposition voice and has said he plans to return to Iran, although it is difficult to assess independently how strong support for him is inside Iran.