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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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The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.
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Antisemitic Beliefs More Common Among Young Social Media Users, Yale Poll Shows
Penn State graduate student Roua Daas, an organizer with Students for Justice in Palestine, speaks at a pro-Palestinian protest at the Allen Street gates in State College, PA on Feb. 12, 2024. Photo: Paul Weaver/Sipa USA via Reuters Connect
A new survey from Yale Youth Poll is raising fresh concerns about antisemitism among younger Americans, revealing a significant link between social media consumption and anti-Jewish sentiment.
The Spring 2026 poll, conducted by researchers affiliated with Yale University, finds that Americans aged 18 to 34 are more likely than older generations to agree with statements widely recognized as antisemitic even as many express uncertainty about what qualifies as antisemitism in the first place.
According to the survey, a significant share of young respondents agreed with longstanding antisemitic tropes. Roughly a quarter to a third of the youngest respondents expressed belief in ideas such as Jews having “too much power” or divided loyalty between the United States and Israel. The poll also found that about one in five young respondents supported boycotts of Jewish-owned businesses to express disapproval over Israel’s war in Gaza.
The poll reveals that roughly 10 percent of those 18-34 agreed with all three of these antisemitic sentiments. Conversely, only 2 percent of those above 65 agreed with all three.
While these views are not held by a majority, experts say the numbers are high enough to raise alarms.
Beyond attitudes themselves, the poll also indicates that youth who receive news from alternative media sources, such as social media, are more likely to harbor antisemitic sentiments.
Respondents who rely more heavily on social media platforms, including TikTok, Instagram, and X/Twitter, were significantly more likely to agree with antisemitic statements.
The survey also points to a striking divide based on how young Americans consume news. Respondents who rely primarily on social media platforms such as TikTok, Instagram, and X were roughly 1.5 to 2 times more likely to agree with antisemitic statements than their peers who turn to traditional sources like television or newspapers. On measures such as beliefs about Jewish power or loyalty, gaps of 10 to 15 percentage points emerged between the two groups, with social media–heavy users consistently showing higher levels of agreement.
The pattern is striking enough to suggest that digital information ecosystems may be shaping perceptions in ways that traditional media does not. Further, the underlying pattern can give insight into why opinions on Israel and antisemitism substantially diverge among US youth compared to older generations.
Observers point to the nature of these platforms, where algorithm-driven feeds often elevate emotionally charged, highly simplified content. In that environment, complex geopolitical conflicts, such as the war in Gaza, can be reduced to slogans, viral clips, and narratives that blur the line between political criticism and longstanding antisemitic themes.
In the immediate aftermath of the Oct. 7 slaughters in Israel, a bevy of left-leaning social media personalities immediately condemned Israel and accused the Jewish state of committing war crimes and genocide in Gaza. Several reports indicate that anti-Israel content performs especially well on youth-centric social media platforms such as TikTok and Instagram, incentivizing content creators to intensify public criticisms of the Jewish state. The Yale survey suggests that for many young Americans, views on Israel are increasingly intertwined with perceptions of Jewish people more broadly.
The poll also challenges attempts to place blame on a single political group. The data indicates that both “extremely conservative” and “extremely liberal” individuals are likely to express belief that antisemitism is a “serious problem” in the country. Moderate voters are more likely to express ambivalence, with a plurality indicating that they “neither agree nor disagree” that antisemitism is a significant issue in the US.
Importantly, the survey does not suggest that most young Americans hold antisemitic views.
But it does point to a rising level of acceptance, or at least tolerance, of ideas that were once more widely rejected. Moreover, the poll suggests that young people underestimate the level of antisemitism that persists in the country. For instance, among voters ages 18-34, 29 percent agree with the antisemitic conspiracy “Jews have an extremely organized international community that puts their own interests before those of their home countries” compared to only 17 percent of those age 65. Approximately 8 percent of the 18-34 age cohort believe “people exaggerate how bad the Holocaust actually was” compared to 2 percent of those above 65.
A mere 21 percent of voters aged 18-34 agreed with the notion that Jews experience the bulk of hate crimes in the US, compared to 40 percent of overall voters. Various surveys indicate that Jews have faced the greatest increase in hate crimes over the past two years.
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As Ohio again tries to block Hebrew Union College’s restructuring, a new rabbinical school emerges in Cincinnati
(JTA) — The attorney general of Ohio has filed a second lawsuit against the nation’s largest Reform rabbinical school over the planned shuttering of its historic Cincinnati campus — a controversial move that has also prompted the creation of a new rabbinical school in the city.
Ohio AG Dave Yost, a Republican, says he wants to prevent Hebrew Union College-Jewish Institute of Religion from closing its 151-year-old Cincinnati campus at the end of the current school year. Yost’s lawsuit alleges that the planned closure would violate state laws intended to protect the original intent of nonprofit donors, who believed they were supporting HUC’s Cincinnati base.
“Hebrew Union accepted millions of dollars in donations based on a 76-year-old promise it now would like to break,” Yost’s office said in a statement accompanying the lawsuit, citing the school’s 1950 agreement to “permanently maintain” a rabbinical school in the city. “We’re suing to keep these assets in Cincinnati where they belong.” The suit asks a judge to bar HUC from closing its doors before a court date.
A request for comment to spokespeople for HUC was not immediately returned.
In 2022, HUC leadership announced that they would be closing degree-granting programs at their flagship Cincinnati campus in order to focus on their other campuses in New York and Los Angeles, which the school claimed were more popular with students. The college has pledged to preserve its archives and library housed on the campus, but has also pursued plans to sell off property across all its campuses as well as, reportedly, to sell rare books from its collection.
The move sparked intense blowback from leaders in the Reform movement, some of whom have argued that the college was abandoning its founding principles by moving out of the Midwest in favor of the coasts.
Some of HUC’s former Ohio figureheads, along with other Reform leaders, have since announced plans to launch their own Cincinnati-based rabbinical school: The College for Contemporary Judaism.
“We believe it is imperative that there be a strong, vibrant rabbinical school in Cincinnati to serve the liberal American Jewish community, especially between the coasts where access to congregational rabbis and rabbinical education is severely limited,” the college’s founders said in a statement Tuesday. “While we cannot comment directly on the lawsuit filed by Ohio Attorney General Dave Yost against Hebrew Union College, it is vitally important that assets subject to the lawsuit are used as originally intended: to support a strong, thriving rabbinical school in Cincinnati.”
The college’s founders include Rabbi Sally Priesand, the first female rabbi to have been ordained by HUC in 1972, who will serve as the new college’s honorary president; and Rabbi Gary Zola, longtime director of HUC’s Cincinnati-based American Jewish Archives, who will now serve as CCJ’s founding president.
The college pledges not to be affiliated with any particular denomination, but will instead commit itself to “Liberal Judaism” with what its site describes as “an unwavering commitment to the existence and well-being of the Jewish and democratic State of Israel.” It will have a particular focus on Jewish communities in the Midwest, South and Mountain West, where its founders say “access to rabbinical education has been severely limited.”
In explaining the decision to base the college in Cincinnati, the school points to some of the Jewish institutions there currently being shepherded by HUC, including the library and archives. It also names the region’s historical importance to American Judaism, as the city where Rabbi Isaac Mayer Wise, spiritual forefather of Reform Judaism, chose to base his fledgling movement.
Yost’s latest lawsuit, filed April 10, was the second time the Ohio AG had taken HUC to court over its planned downsizing. He also sued the school in 2024 following reports that leadership was exploring the sale of some of its rare books. The two parties settled the following year with an agreement intended to keep HUC from selling its items without 45 days’ notice to the state.
The post As Ohio again tries to block Hebrew Union College’s restructuring, a new rabbinical school emerges in Cincinnati appeared first on The Forward.
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Orthodox groups ask Supreme Court to hear case of Ohio man barred from hosting home prayer services
(JTA) — Orthodox Jewish groups urged the Supreme Court to take up the case of an Orthodox Jewish man ordered by officials in University Heights, Ohio, to stop hosting prayer services in his home without a permit.
The amicus brief, which was filed Friday by the National Jewish Advocacy Center alongside the Orthodox Union and the National Council of Young Israel, comes years after Daniel Grand, a resident of the suburb of Cleveland, invited a group of Jewish men to his home for Shabbat services starting in January 2021.
At the time, University Heights, citing zoning laws, issued a cease-and-desist order blocking Grand from using his home for prayer.
Grand initially applied for a special use permit to use his home as “a place of religious assembly” in 2021, but later withdrew the application, saying he did not “wish to operate a house of worship as is defined under the zoning ordinance.”
According to the NJAC, the former mayor of University Heights, Michael Dylan Brennan, then encouraged Grand’s “neighbors to watch his home and report any sign of Jewish worship to the authorities.”
“What happened to Daniel Grand is not an isolated incident,” Rabbi Mark Goldfeder, the CEO of NJAC, said in a statement. “It is the latest chapter in a long and documented history of municipalities using zoning laws to suppress Orthodox Jewish religious practice.”
The city’s current mayor, Michele Weiss, who was elected last fall, told JTA that there was currently one residence in the city that had obtained a special permit to host worship gatherings and that another was currently in the middle of applying for one.
“My perspective is that everyone has a right to worship in their home with a small group of people (a minyan) without city involvement, just like a book club might do,” Weiss, who is the first female Orthodox Jewish mayor in the United States, wrote in an email to JTA. “If a congregation wants to worship in a residence with a proper congregation then each city should have a way forward through their planning commission.”
In September 2022, Grand filed a lawsuit against the city and Brennan, alleging that the former mayor was motivated by “animus against Orthodox Jews.” He maintained that the actions blocking him from conducting services in his home were part of a “systematic campaign” to prevent the Orthodox community from growing in University Heights, according to the Cleveland Jewish News.
In January, Weiss told JTA that University Heights’ Jewish community had grown a “tremendous amount” in recent years, and was the “largest Orthodox contingency of residents in the state of Ohio.”
Brennan, who was twice censured by the city council for “inappropriate language,” had previously faced criticism from the city’s Jewish community during his tenure. In November 2024, he drew backlash for criticizing voters in a heavily Jewish neighborhood who supported Donald Trump, and in April 2025, he accused the volunteer-run Jewish ambulance service Hatzalah of “jeopardizing public safety.”
In October 2024, the U.S. District Court of Northern Ohio ruled in favor of University Heights, and the Ohio 6th District Court of Appeals later upheld the ruling in November 2025.
A petition for Supreme Court review is currently pending, and a decision on whether it will be heard is expected in the coming months, according to NJAC.
“This case deserves Supreme Court review because, across the country, Jewish religious practice has repeatedly been constrained through the neutral application of rules in ways that disproportionately burden visible Jewish life,” David Benger, the litigation counsel at NJAC, said in a statement.
The post Orthodox groups ask Supreme Court to hear case of Ohio man barred from hosting home prayer services appeared first on The Forward.