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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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Pomona College Agrees to Settlement Over Civil Rights Complaint Alleging Antisemitism on Campus
A pro-Hamas activist posts a banner near an encampment to demonstrate at the Claremont Colleges on May 7, 2024, in Los Angeles, California. Photo: Qian Weizhong via Reuters Connect
Pomona College in Claremont, California, has settled a civil rights complaint which accused school officials of having “permitted severe discrimination of Jewish students” in the months which followed Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
The Anti-Defamation League (ADL), Louis D. Brandeis Center for Human Rights Under Law, and Hillel International were part of the coalition of civil rights groups that brought legal action on behalf of Jewish students. According to a statement they released this week, the settlement calls for the college’s adopting the International Holocaust Remembrance Alliance’s definition of antisemitism, updating its non-discrimination policy to stress that antisemitism is verboten, and hiring a new official to manage the college’s compliance with Title VI of the Civil Rights Act.
“After Oct. 7, Jewish and Israeli students and teachers across the country were forced to live in fear on their own campuses. But there were many, including those at Pomona, who exemplified strength and stood up to the bigotry and hatred that threatened them,” Brandeis Center founder and chairman Kenneth Marcus said in a statement commenting on the resolution of the case. “The action steps outlined in this settlement will address the blatant and egregious antisemitism faced by Pomona’s students, therefore protecting students from facing similar treatment in the future. And we hope it encourages others to take legal action against those who violate our constitutional rights.”
Pomona College president Gabrielle Starr issued her own statement on Wednesday, saying, “Antisemitism has persisted for thousands of years, and this settlement is not a one-size-fits-all toolkit. It’ll be up to our community to put it in place — and to live it. We will work with the Executive Committee of the Faculty, Staff Council, and [Associated Students of Pomona College] to navigate the complexities and challenges together. I am grateful to their leadership in these times.”
The settlement announcement comes just over a month after Pomona College, working with its sister institutions in the Claremont consortium of liberal arts colleges in California (5C), imposed severe disciplinary sanctions on some of the members of a pro-Hamas student group who attempted to raid a campus Jewish event held to commemorate the victims of the Oct. 7 massacre, which claimed the lives of 1,200 people and resulted in 251 hostages being kidnapped and taken to Gaza.
As previously reported by The Algemeiner, footage of the incident showed the group, whose members concealed their faces with keffiyeh scarves, attempting to storm the event venue while screaming expletives and pro-Hamas slogans. They ultimately failed due to the prompt response of the Claremont Colleges Jewish chaplain and other attendees who formed a barrier in front of the door to repel them, a defense they were forced to mount on their own because campus security personnel did nothing to stop the disturbance.
Later, the group behind the incident issued a disturbing open letter on social media.
“Satan dared not look us in the eyes,” the note said, while attacking event guests and Oct. 7 survivor Yoni Viloga. “Immediately, zionists [sic] swarmed us, put their hands on us, shoved us, while Viloga retreated like he did on October 7th, 2023.”
Appearing to threaten murder, the group added, “We let that coward know he and his fascists settler ideology are not welcome here nor anywhere. zionism is a death cult that must be dealt with accordingly [sic].”
After an exhaustive investigation which drew in every member of the 5C, Pomona College determined that two of the young people involved in the raid are enrolled in sister schools it would not identify due to privacy laws. It has banned them from the Pomona campus. Two other individuals remain at large.
“Given the gravity of the alleged offense — and the published statement that has raised significant concerns about similar disruptions in the future — I have initiated an interim campus ban for both individuals, pending further inquiries, and in line with our policy,” Starr said in her last update on the matter. “The alleged behavior here is serious, and to ensure an appropriate adjudication is reached, the college is committed to maintaining a fair process.”
She added, “I assure you that Pomona hopes for — and will advocate for — an outcome that ensures our campuses are free of the kind of targeted harassment we witnessed.”
Follow Dion J. Pierre @DionJPierre.
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Bill to Help Recovery of Nazi-Looted Art Passes US Senate Unanimously, Heads to House of Representatives
A drone view of the “Arbeit macht frei” gate at the former Auschwitz concentration camp ahead of the 80th anniversary of its liberation, Oswiecim, Poland, Jan. 10, 2025. Photo: REUTERS/Kacper Pempel
The US Senate on Wednesday unanimously passed a bill that would help Holocaust survivors and their families reclaim artwork stolen by Nazis during World War II.
The Holocaust Expropriated Art Recovery (Hear) Act of 2025 updates and expands on the original 2016 HEAR Act, which created a six-year window for a Holocaust survivor or their family to file a legal claim starting from the time they discovered the location of their stolen art. The 2016 HEAR Act is set to expire at the end of 2026.
The new bill passed by the Senate this week clarifies legal protections for Holocaust survivors and their families who are seeking the return of art looted by the Nazis by making sure that their claims are considered based on factual merits and not dismissed due to legal deadlines or time-based technicalities. The new bill states that if a Holocaust survivor or their family members file a claim within six years of discovering their artwork’s location, their case cannot be dismissed just because of how much time has passed.
The bill now heads to the House of Representatives, and if it’s passed there, it will be sent to US President Donald Trump to be signed into law.
“This bipartisan effort will assist Holocaust survivors and their families who are seeking the return of artwork now held in museums and collections across the United States,” said Mark Weitzman, chief operating officer of the World Jewish Restitution Organization, which supports world Jewry in pursuing claims for the restitution of Jewish property stolen during the Holocaust.
“By clarifying and strengthening the legal framework, the bill helps ensure that these claims can be evaluated on their merits, advancing justice and accountability,” added Weitzman. “The bill now moves to the House of Representatives, and we encourage swift support to bring us closer to ensuring that claims for Nazi-looted art can be heard on their merits.”
The bill was cosponsored by US Sens John Cornyn (R-TX), Richard Blumenthal (D-CT), Thom Tillis (R-NC), Cory Booker (D-NJ), Marsha Blackburn (R-TN), John Fetterman (D-PA), Eric Schmitt (R-MO), and Katie Britt (R-AL). Cornyn spearheaded the 2016 HEAR Act.
“The thousands of missing pieces of art looted from Jewish families by Hitler’s regime during the Holocaust are a painful reminder of a time when cruelty and hatred reigned,” Cornyn said in a released statement. “This legislation renews our commitment to Holocaust survivors and their families by ensuring cases are heard on their merit, offering a path to restitution and assurance that such injustices are never forgotten.”
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Middle East Scholars Hope New Book on Oct. 7 Will Combat the ‘Promotion of Fallacies on Campus’
Pro-Hamas demonstrators at Columbia University in New York City, US, April 29, 2024. Photo: REUTERS/Caitlin Ochs
A consortium of Middle East scholars, as well as one student, has published a new book examining the impact of Hamas’s Oct. 7, 2023, massacre across southern Israel on geopolitics, media, and the landscape of higher education, The Algemeiner recently learned.
Edited by Scholars for Peace in the Middle East executive director Asaf Romirowsky and Smith College professor Donna Robinson-Divine, the book, titled October 7: The Wars Over Words and Deeds, includes essays by esteemed thinkers such Andrew Fox, KC Johnson, and Alex Joffe and it has already been acclaimed by professors representing higher education institutions across the Western world, from the University of California, Berkeley in the US to Kings College London in the United Kingdom.
On Friday, The Algemeiner spoke with Romirowsky and Robinson-Divine for nearly two hours to discuss their hopes for the project. One hope, they said, is breaking higher education’s dialogue on the Middle East out of a conceptual prison in which the convulsions of campus activism preclude careful analysis of a region whose rich history and effect on global stability demand seriousness. Wars Over Words and Deeds, they said, achieves this objective by contributing to “the academy” sound scholarship on the Middle East which respects the complexities it has posed to statesmen, scholars, and presidents since the collapse of the Ottoman Empire following the conclusion of World War I.
“We saw constantly a dearth of information and the promotion of fallacies on campus — a kind of rapid fire of lies and disinformation. We felt that we needed to actually look at the question of Israel and the Middle East from a rigorous academic standpoint,” Romirowsky said. “As historians, politic scientists, and analysts, we came together as a group to actually look at the historical patterns of behavior and historical evidence and describe the events which led up to Oct. 7 and what has transpired since.”
As previously reported by the Algemeiner, since the Oct. 7 massacre college faculty and students have treated the Israeli-Palestinian conflict, as well as the subject of regional order in the Middle East, as a political and ideological issue, holding rallies, occupying buildings, and demanding sweeping policy changes such as divestment from Israel and the expulsion of Jewish academics. In dozens of incidents documented by The Algemeiner, they translated their zeal into speech which drew from Nazi-era rhetoric and other classic antisemitic tropes.
These activists have created an unusual convergence of interests connecting political Islamists, classical, white supremacist antisemites, and even far-left activists who advocate non-heteronormative gender roles and sexualities, Robinson-Divine noted.
“Anti-Zionism seems to be a vehicle for cementing ties between progressives who might not otherwise share a policy consensus,” she explained. “Muslim activists might have little in common with LGTBQ activists striving freedom and expanding social rights but they can unite around the issue of Israel.”
A coalition comprising factions which are normally at odds over the biggest political questions can only arise in a climate of deception, she noted.
“The incentives for distorting terms and concepts, for pushing an agenda, have been powerful over the past 10 years,” Robinson-Divine continued. “Higher education confers valuable material and social rewards to those who join the anti-Israel movement. But there are people who want information and accuracy, and I haven’t entirely despaired.”
One of the issues explored by The Wars Over Words and Deeds is the anti-Zionist left’s denial of reports that Hamas fighters sexually assaulted men and women on Oct. 7 and continued to do so after the fact to hostages it kidnapped and transported to Gaza. The Yale Daily News, for example, helped to popularize this denialism in higher education in November 2023, when it censored a column which discussed the sexual assault, calling the accounts of victims “unsubstantiated” — an outrage for which it later apologized.
“What is interesting about some Western responses to Oct. 7 is that groups which fall on the liberal side or the political spectrum, who claim to be invested in the well-being of women and disposed peoples,’ contribute to mass dehumanization which enables conditions for horrific gender-based violence to occur on nationalistic grounds,” writes Smith College student Skylar Ball in her contribution to the book. “When we turn our backs on truth, we enable dehumanization, and we subsequently turn our backs on humanity.”
Romirowsky, Robinson-Divine, and the scholars they brought together have a tall task, as anti-Zionist extremism in higher education has proven to be infectious.
Just last month, a New York City college saw a portentous incident in which a student and local imam disrupted an interfaith event by issuing a verbal fatwa which called for imposing sharia law on Americans, defended amputating the limbs of misdemeanor level criminals and the wealthy, and denigrated a Jewish co-panelist, Baruch College professor Ilya Bratman.
“If you’re a Muslim, out of strength and dignity, I ask you to exit this room immediately,” said Abdullah Mady, who is enrolled in the Master’s in Translational Medicine (MTM) program. “Sharia … stands against the oppressor. When sharia is implemented, pornography — gone. Alcohol industry — gone. Gambling system — gone. Interest is gone, which is what they use to enslave you.”
Follow Dion J. Pierre @DionJPierre.