Connect with us

Uncategorized

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.

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Uncategorized

In its first detailed response to ‘NAZA’ documentary, IDF claims ‘fundamental errors’

(JTA) — The IDF on Thursday issued its first detailed response to “NAZA” after viewing the full documentary alleging Israeli forces knowingly killed large numbers of civilians in the Gaza war, accusing the filmmakers of making fundamental errors about how civilian-casualty estimates, strike approvals and intelligence tools were used.

“The film’s narrative is based on substantial factual errors stemming from a misrepresented and manipulative depiction of reality,” the IDF said in a statement accompanying its findings. The film “presents a distorted, misleading and disingenuous picture of the IDF’s target planning and striking process,” the military said, arguing that it conflates preliminary intelligence work with the later operational and legal process used to decide whether and how a target can be struck.

The filmmakers, who are Israeli, have previously defended the film’s reporting, saying the identities of its anonymous sources and the cases they described were verified and that editors at the Guardian, which produced the film, had access to the underlying material.

The 10-page response came after an IDF representative attended a screening of “NAZA,” directed by filmmakers Yuval Abraham and Rachel Szor, in Bologna, Italy, allowing the military to assess the full film for the first time. The army had previously rejected the documentary’s allegations based on excerpts and publicly available material, saying at the time that the filmmakers had not provided it with a copy despite a request to do so.

The film is based on interviews with 24 Israeli soldiers, most of them intelligence personnel, who describe their roles in surveillance, target selection and strikes in Gaza. NAZA is the Hebrew acronym for collateral damage. The film, which won the Special Jury Prize at the Venice Film Festival last month, argues that the military accepted high civilian casualty estimates, relied heavily on AI tools to generate targets and weakened safeguards governing strikes.

The IDF in its response Thursday rejected one of the documentary’s most prominent claims, that a strike had been approved despite an estimated civilian death toll of about 500. The military said it had “never planned, approved or carried out” a strike in which 500 civilians, or “anything close to that number,” were expected to be killed.

The IDF also rejected the film’s claim that junior Hamas operatives could be approved for targeting with up to 20 expected civilian casualties, and that senior commanders could be targered with as many as 200. It said the film had confused thresholds requiring approval from more senior commanders, who could then reject the operation, with permission to kill a fixed number of civilians. The military said that no 200-casualty approval threshold had ever existed and that actual thresholds were “much lower,” without specifying what the thresholds were.

The IDF did acknowledge that several incidents involving civilian deaths near humanitarian aid distribution sites prompted operational reviews, changes to instructions and other measures in those areas. However, it disputed testimony that soldiers fired indiscriminately at civilians near the sites and said troops were permitted to fire only at militants or people posing an immediate threat.

Abraham has accused Israeli media of failing to seriously investigate civilian casualties and rules of engagement in Gaza during the war.

The IDF also rejected the film’s suggestion that civilians who remained in evacuation zones could then be treated as legitimate targets. It said evacuation orders did not change a civilian’s status and that every strike still required identification of a military target and a separate proportionality assessment.

When it came to the film’s portrayal of “Lavender” as an AI-powered list of targets approved for attack, the military said the production had misunderstood what the program was: a database used to cross-reference intelligence on members of militant groups which did not make someone in the database a target.

“Artificial intelligence does not determine whether an object or a person is designated as a target, nor whether a target is struck,” the IDF said, adding that those decisions are made by human analysts and commanders.

The IDF also argued that many of the anonymous soldiers featured in “NAZA” were describing only “limited, initial stages” of the targeting process. “Such testimonies therefore cannot be treated as a complete account of the policies at hand, the decisions made and what ultimately happened,” the military said.

A Guardian News & Media spokesperson, in a statement sent to the Jewish Telegraphic Agency, said the Guardian “stands fully behind the film,” which it said was based on three years of reporting by the outlet and its partners and interviews with more than 100 sources familiar with IDF systems used in Gaza, including senior commanders involved in authorizing strikes.

The Guardian also rejected what it described as the IDF’s attempt to portray the film’s interviewees as “junior-ranking officers involved only in the early stages of the targeting process.”

“They include officers and soldiers who were involved in multiple stages of the targeting process in Gaza, including intelligence, operations and the final authorization process,” the statement said.

The military did not describe all 24 participants as junior personnel and said only that the testimony of the soldiers interviewed in the film “generally” focused on “limited, initial stages” of the targeting process.

The Guardian said the “process of assessing the credibility of the testimonies was rigorous” and included “leaked classified documents, detailed verification of specific strikes and corroboration via a wider pool of confidential journalistic sources who did not appear on camera in the film.”

The Guardian also said the New York Times, Washington Post and Associated Press had “confirmed the IDF’s use of AI-driven systems in the Gaza offensive and the loosening of safeguards to protect civilians.”

The IDF disputed the film’s suggestion that it did not examine civilian casualties after attacks. Several units tracked strike outcomes and civilian-casualty reports and hundreds of incidents had been reviewed during the war, the military said, arguing that intelligence personnel interviewed in “NAZA” do not appear to belong to those units and “are not positioned to testify on this matter.”

The IDF rejected the film’s criticism that its collateral-damage estimates did not distinguish between adults and children. It said international law treats all civilians as protected regardless of age, adding that when commanders knew children were present, that information “led commanders to cancel, postpone or replan strikes.”

It also pushed back on an interviewee’s claim that the IDF believed there were “no uninvolved civilians in Gaza,” saying that may have reflected the soldier’s personal views but did not represent military policy or orders. It also rejected the film’s genocide allegations, saying the interviewees were not in positions to establish genocidal intent by senior commanders or political leaders.

The IDF also criticized the filmmakers’ reporting methods, saying they provided no dates, locations or other identifying details for alleged strikes and did not put their specific allegations to the military before the film’s release. “The filmmakers could have identified and avoided the substantial errors apparent in the film had they conducted adequate verification and corroboration in good faith. The end result shows they did not,” the military said.

The Guardian statement did not say whether the filmmakers solicited detailed responses from the IDF, and why if they did not..

The military said “NAZA” also gave insufficient weight to the Oct. 7 Hamas attack, the group’s use of civilian areas for military activity and measures Israel says it took to reduce civilian casualties, including warnings, changes to strike plans and the cancellation of attacks.

This article originally appeared on JTA.org.

The post In its first detailed response to ‘NAZA’ documentary, IDF claims ‘fundamental errors’ appeared first on The Forward.

Continue Reading

Uncategorized

Zara removes Halloween costume likened to concentration camp uniform 

(JTA) — Spanish fashion retailer Zara removed a children’s Halloween costume from its website on Wednesday after social media users noted that the gray-and-blue striped outfit resembled prison garb worn by inmates in Nazi concentration camps.

Zara described the ensemble as “Kids costume featuring vertical stripes with decorative topstitching, a lapel flower and a distressed effect. Includes a cardigan and shorts. Gray / Blue.”

The post was visible via a Google search that continued to display an indexed version of the Zara product page after the listing itself had been removed.

The costume resembles the suit worn by Michael Keaton’s title character in the 1988 horror-comedy “Beetlejuice” and its 2024 sequel, “Beetlejuice Beetlejuice.” Even so, social media users said the vertical stripes and shiny crisscrosses, which some media outlets described as “fake stitched scars,” resembled concentration camp uniforms and the barbed wire visible in many World War II photos.

Priced at $59.90 in the U.S., according to another indexed version of the listing, the costume drew criticism online in Europe on Tuesday. It gained wider attention Wednesday after Israeli journalist Dov Gil-Har, activist Hen Mazzig and others shared images of it on X.

The listing was no longer accessible by Wednesday afternoon. It was unclear exactly when Zara removed it. No reason was given for its removal, and Zara has not made any public statements regarding the controversy, nor has it responded to the Jewish Telegraphic Agency’s request for comment.

One Instagram commenter wrote “@zara how many levels of approval did this go though (sic)? Who is working for you?” A Facebook user said “It’s supposed to be a groom costume. It does somewhat resemble a (sic) Auschwitz uniform. With all the anti-semitism on the rise I am not surprised.” Another Instagram user asked, “What were they claiming it was meant to be?”

Zara has in the past faced similar controversies over clothing that evoked Nazi or Holocaust imagery. In 2007, it withdrew a handbag from its stores after a customer discovered a swastika embroidered on it; Inditex, Zara’s parent company, said the symbol had not appeared on the design Zara had approved.

In 2014 Zara apologized for selling a blue-and-white-striped shirt with six-pointed yellow-star badges on the chest. The Zara Israel website identified it as a “striped sheriff t-shirt” and the word sheriff was cut out in small letters on the star. The likeness to concentration camp uniforms and the yellow Star of David badges Jews were forced to wear under Nazi rule led Zara to stop selling the shirts and destroy the remaining inventory.

When reached for comment, the Conference on Jewish Material Claims Against Germany, which represents Holocaust survivors in compensation negotiations, said the repeated incidents underscore the need for Holocaust education.

“This is not the first time this has happened and it once again makes abundantly clear: The glaring absence of Holocaust knowledge is pervasive,” Gideon Taylor, Claims Conference president, wrote in an email to JTA. “It shouldn’t take the risk of a Shoah survivor opening their door and seeing children that look like they are in concentration camp uniforms for us to see where we have to do better. This should serve as a message to us all of why Holocaust education is so important.”

This article originally appeared on JTA.org.

The post Zara removes Halloween costume likened to concentration camp uniform  appeared first on The Forward.

Continue Reading

Uncategorized

Jewish groups hail California law making it the first state to list ‘Jewish’ as an ethnicity

(JTA) — California is now the first state in the nation to deem “Jewish” an ethnic and racial identity, rather than just a religious affiliation.

Democratic Gov. Gavin Newsom on Wednesday signed SB 1387, a bill that expands California’s legal definition of ethnicity “to include Jewish identity” in demographic data collection. As of Jan. 1, 2029, forms distributed by public entities like schools and prisons will need to include a “Jewish” category when asking for voluntary disclosures of ethnicity or race.

David Bocarsly, CEO of Jewish California, a group that lobbies on behalf of a number of Jewish organizations in the state, described the signing in a statement as “a historic step for the Jewish community.”

“Under the shadow of Nazi race theory, American Jewish leaders asked the government to count us only as a religion,” he said, noting that this approach “didn’t work” and led to exclusion from data that shapes policy.

“Now hate crime, health, poverty, and education data will reflect who Jewish Californians actually are so we can ensure the best support for our community,” Bocarsly added. “Most importantly, it allows us to be seen as the diverse, complex people we are.”

The legislation was a priority among many Jewish groups across the Gold Rush state, who believe that Jewish peoplehood should be connected to more than just religion — and that the law should reflect this relationship.

Newsom, however, expressed some reservations in signing the bill into law.

“I strongly support this bill’s goal: accurate data leads to better understanding to inform policy,” Newsom, who is considering a presidential run in 2028, wrote in a signing statement. But he said he was concerned that the bill’s strictures would make it hard for state agencies to comply with the new law and with federal laws, and recommended revisiting the bill.

In addition to signing SB 1387 on Wednesday — the final day on which he could approve or veto bills in this year’s legislative session — Newsom also authorized AB 395, which will prohibit public meetings and graduations from being scheduled on major cultural and religious holidays.

“Californians of all faiths and backgrounds should be able to fully participate in public life,” the bill’s author, Democratic Assemblymember Jesse Gabriel, said in a statement.

“For too long members of our religious communities have been forced to choose between observing their faith and participating in important public events and academic milestones,” added Gabriel, who chairs the California Legislative Jewish Caucus.

Also on Wednesday, Newsom approved AB 1763, which will include religious holiday observance as a type of excused absence in schools without requiring a written request from a parent or guardian.

Newsom signed other bills relevant to the Jewish community in the past few days, including AB 2664, which will establish 100-foot protective zones around entrances to houses of worship.

Another new law is AB 1836, which will close a gap in California’s nonprofit security grant structure by extending funds to off-site religious events like Hanukkah menorah lightings. The governor also approved AB 1853, enacting a ban on including misleading or threatening information, like hate speech, in California voter guides.

This article originally appeared on JTA.org.

The post Jewish groups hail California law making it the first state to list ‘Jewish’ as an ethnicity appeared first on The Forward.

Continue Reading

Copyright © 2017 - 2023 Jewish Post & News