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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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How seriously should we take San Francisco’s anti-Zionist hecklers?
The videos of local activists in San Francisco accosting Scott Wiener, the state senator running to replace Nancy Pelosi in the U.S. House, are hard to watch.
“Say ‘Free Palestine’ for the camera, dog,” Jesus Coba, who runs a popular Instagram account, tells Wiener as he’s trying to watch the World Cup at a bar. “Say ‘Free Palestine’!”
Coba is holding the camera close to Wiener’s face as the politician stares at him in silence.
A few days later Wiener was surrounded and screamed at as he made his way through Dolores Park, where he had come to participate in a Shabbat service as part of the Trans March.
“F— you and your Zionist handlers,” one person shouted at Wiener, who is both Jewish and gay, and has championed legislation protecting trans rights. “F— you and your Israeli masters.”
What happened to Wiener can be seen as part of a national trend. Jack Schlossberg, a Jewish heir to the Kennedy dynasty, face-planted in his attempt to replace Rep. Jerry Nadler in the U.S. House. He ran a poor campaign, but it wasn’t helped by the fact that he tried to trade on his status as a Millennial social media influencer while refusing to embrace the TikTok generation’s skepticism of Israel.
“Can you say ‘F— Israel,’ Jack?” an erratic fellow influencer who goes by the name Crackhead Barney asked visibly stressed Schlossberg during a street interview.
“No way, dude, I’m Jewish,” Schlossberg responds.
And other Democrats have spoken about the extent to which a candidate’s willingness to accuse Israel of committing genocide in Gaza has become a litmus test in primary contests.
But, at the same time, the people hounding Wiener in public are part of a radical but fringe minority — one with deep roots in San Francisco — that has struggled to gain political power even as its members excel at generating viral clips.
***
San Francisco is home to loud and often obnoxious activism fueled by the very real sense of alienation that comes when a region known for its radical politics is subjected to repeated rounds of displacement by the tech industry. I grew up in the city during the first dot-com boom, when the Mission Yuppie Eradication Project plastered the neighborhood with calls to vandalize luxury cars and sushi restaurants. The man behind the group was eventually arrested and police found instructions in his apartment for how to build acid bombs.
Gay Shame, an anonymous protest collective, carried on this style of activism with a promise to “instigate, irritate, and agitate” and graffiti insisting that “Queers Hate Techies,” while locals blockaded the private buses that ferried tech workers to their jobs south of the city.
When Google Glass — an early precursor to Meta Ray-Bans that embed a livestreaming camera in your glasses — became a symbol of gentrification, a woman was punched in the face for wearing the device into a local dive bar.
It’s not shocking that Jews have not always fared well among this set, for whom strident opposition to symbols of power reigns supreme. A disturbing precursor to the protests against Wiener came in 2018 when activists began weekly protests outside Manny’s, a cafe and “civic event space” in the Mission.
The business replaced a sushi restaurant, but it still somehow became the target of neighborhood activists who demanded a host of concessions from Manny Yekutiel, the cafe’s Jewish owner. Yekutiel agreed to many of the asks: bilingual signage and staff, affordable drip coffee and free event bookings for community groups.
But Yekutiel still found himself facing weekly protests, including by Gay Shame, accusing him of promoting a “pro-elite, pro-Zionist and pro-gentrification agenda.” Someone spray-painted a Star of David and “F— Zionism” on the exterior, and a window was smashed.
His sole crime was apparently a Facebook post from a few years before he opened the business asking for recommendations on “some good Zionist organizations in the Bay.”
The people who thought protesting Yekutiel was a good use of their Wednesday nights for several years are the same folks — sometimes literally — who are now harassing Wiener.
Coba, who was kicked out of the bar for yelling at Wiener, and whom Wiener said had previously accosted him at the airport and accused him of having a “tainted bloodline,” recently posted footage of someone chasing Yekutiel through a street fair.
Yekutiel is now running for the Board of Supervisors, which is San Francisco’s city council, and the man quizzing him was mad that Manny’s had once hosted pro-Israel activist Hen Mazzig. Coba claimed Mazzig was an Israeli commando, which I could find no evidence for, and Yekutiel said all he knew was that Mazzig had served in the Israeli military as most Israeli Jews are required to do.
“Well maybe having Israelis at the cafe isn’t a good idea,” the man, who does not identify himself, tells Yekutiel.
***
It could be difficult to summon much sympathy for tech workers whose commute was delayed by nudists trying to board their buses as a form of protest. But it’s much easier to see how corrosive the “Zionist” litmus tests being applied to Jews in San Francisco and elsewhere are.
As a longtime politician, Wiener’s record of support for Israel is deeper than Yekutiel’s. But not by much. He joined a solidarity trip to Israel in 2024, but had also called for a ceasefire in Gaza in November 2023, opposes U.S. military aid to Israel at least until a new government is in place, and — after an awkward delay — he joined the other candidates in the race for Pelosi’s seat in accusing Israel of genocide.
Wiener is a relative moderate in a city where progressives sometimes treat that as akin to being MAGA, and both Coba and the people yelling at Wiener during Pride make allusions to disagreement with his preferred housing policy. Mayor Daniel Lurie, another moderate, was chased out of the Trans March last year, though without as much vitriol.
But it seems clear that the obsession with Wiener supposedly supporting genocide is tied to the fact that he’s Jewish.
His opponent, Connie Chan, is backed by labor unions and has staked out a position to Wiener’s left on Israel, though she has faced no backlash for being endorsed by Pelosi, who embodies moderate San Francisco politics and has been a stalwart supporter of Israel.
At the same time, it’s important to keep in mind that the people leading the charge against Wiener have failed time and again to move the political needle.
They didn’t stop gentrification or slow the mass arrival of tech workers to the city and luxury buses still ferry them to work. Google Glass flopped, but now every other influencer on TikTok is wearing Meta Ray-Bans to film content. Manny’s continues to thrive with support from prominent progressives in the city, and Yekutiel appears to be leading in his race to join the city council.
Wiener rose from the Board of Supervisors to the State Senate, and despite his extremely vocal detractors he remains the favorite to win in November. Local media has not framed Israel as a key issue.
(Schlossberg, for his part, ultimately lost to another pro-Israel Jewish candidate who was to his right on Gaza.)
When Joe Eskenazi, one of the most astute journalists covering local politics in the city, wrote about the Manny’s protests years ago he aptly described the demonstrators as “a diminutive group of attention-seekers.”
That certainly seemed to be the case at the time. Whether the rising tide of animosity toward Israel will afford these hecklers a veto over Jewish politicians ascending the political ladder is now an open question.
The post How seriously should we take San Francisco’s anti-Zionist hecklers? appeared first on The Forward.
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As the Bible and the news from the Strait of Hormuz tells us, our world is in dire straits
The most important traffic reports these days usually come from the Strait of Hormuz.
“Traffic through the Strait of Hormuz dropped significantly over the weekend, The New York Times reported, “as a four-day exchange of attacks between Iran and the United States left some shipowners deciding it was too risky to transit.”
What’s going on with the Strait of Hormuz affects gas prices, stock prices, Americans’ moods — and the world economy.
But what does “strait” mean, anyway?
The word has been with us for a long time, and intriguingly, it appears in many famous translations of the Torah. It also pops up in translations of the New Testament.
“Strait” comes from the Latin for “strict.” It first appeared in English in the 14th century, when, according to the Oxford English Dictionary, it referred to clothing — “a garment, etc.: Tight-fitting, narrow.”
Over time, the meaning changed a bit, but it always had something to do with narrowness. From 1561 to 1725, it meant: “Of bonds, a knot: Tightly drawn.”
As the centuries passed, it attracted the attention of poets.
”It matters not how strait the gate,” wrote William Ernest Henley in his poem “Invictus.” “How charged with punishments the scroll, I am the master of my fate; I am the captain of my soul.”
It turns out that Henley was kind of into the subject of what words meant.
“The poet, who was one of the leading slang lexicographers of his day, saw the gates of heaven as strait — tight, narrow, difficult to get through,” the late great language columnist William Safire observed in 1984, when he wrote a column on “strait” and “straits.”
Maybe Henley had the New Testament in mind, too.
Matthew 7:13 in The King James Bible advises: “Enter ye in at the strait gate: for wide is the gate, and broad is the way, that leadeth to destruction, and many there be which go in thereat.”
Today, according to Merriam-Webster, “strait” means “a comparatively narrow passageway connecting two large bodies of water — often used in plural but singular in construction.”
Henley, the poet, was using an archaic meaning — a narrow passage, without water.
In contemporary English, “strait” also has a secondary meaning — “a situation of perplexity or distress — often used in plural,” according to Merriam-Webster, but also according to anyone who has used the phrase “dire straits,” including, one would presume, the band Dire Straits.
Both physical and emotional space
“Strait” describes both a physical space — for example, a body of water — and an emotional space, like “dire straits.”
Perhaps that dual meaning is why the word “strait” appears in translations of the Torah. In the 1917 Jewish Publication Society translation, the Hebrew word tzar, or “narrow,” is translated as “strait.”
Consider 1 Samuel, 13:6, in the JPS translation from 1917:
“When the men of Israel saw that they were in a strait — for the people were distressed — then the people did hide themselves in caves, and in thickets, and in rocks, and in holds, and in pits.”
Tzar has both a literal descriptive meaning and a figurative emotional meaning. Sure, as an adjective, it means narrow, such as in the famous song about the entire world being “a narrow bridge” — gesher tzar me’od.
But as ki tzar lo in Samuel 1 6:13 demonstrates, it can also refer to a tough circumstance, a strait. Similarly, perhaps, in contemporary Hebrew, someone might say, tzar li, or “I am saddened.”
These multiple meanings might lead a person to the hazardous question of whether one should say the “Strait of Hormuz” in the singular, or “Straits of Hormuz” in the plural.
That was what fascinated Safire in 1984. Today, his take feels like a postcard from another time — but it’s also soothing in this moment of, well, dire straits:
“My advice,”Safire wrote. “Go with the familiar; follow your ear. If you’re happy with the Straits of Gibraltar or Magellan, use the final s; if the place name is new to you, let the gazetteer crowd have its way.”
“Hormuz is unfamiliar to most Americans, and the Strait of Hormuz is therefore the name I would use, going along with Gary Hart and the stylebooks,” Safire continued. “But retain the singular sense: ‘The Straits of Gibraltar’ is a passage.’ ‘’The Strait of Hormuz’ is the next Quemoy and Matsu.”
I liked being distracted for a moment from Iran and Trump with the mention of “Gary Hart.”
That nostalgia reminded me that today’s Strait of Hormuz news cycle, about a traffic jam for the fuel and food we need to live, is about both a location and a feeling.
Sure, the waterway may be physically open, or, at least of this writing, effectively closed because of fear, but its status has other meanings too — like whether the Iranian regime actually won this war, and whether that narrow space is also a symbol of future peril.
And in those multiple meanings, strait echoes the Biblical tzar —narrow, yes, but also dangerous.
In Hebrew and in English, narrowness, perilousness and sadness frequently go together, indicating a world or a situation that must be navigated carefully. Perhaps a word like strait — a little bit singular, a little bit plural — captures it all.
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Mamdani says ‘I can’t tell you I support’ Israel as a Jewish state
(JTA) — New York City Mayor Zohran Mamdani said he could not endorse states that privilege one religion over another, including Israel and Saudi Arabia, during a one-on-one interview with ABC’s Jonathan Karl on Sunday.
“Democratic Socialists of America now says they no longer favor a two-state solution. “Is that the way you see it as well? Karl asked in the interview, which came days after Mamdani’s endorsed Democratic socialist candidates for Congress swept their New York Democratic primaries.
Among them, Claire Valdez and Darializa Avila Chevalier campaigned on platforms that included opposition to U.S. military aid to Israel and support for Palestinian rights.
Mamdani replied to Karl: “The way I see it is equal rights for all people. And I think that that’s the truth for Israel. It’s the truth for any country in the world.”
When pressed by Karl that Israel is in fact a Jewish state and “that’s in the charter, that’s the way it is now,” Mamdani said he has consistently stated he supports “the state of Israel as a state with equal rights.”
However, he added, “I believe that any state that privileges one religion over the other is one that I can’t tell you I support, whether it be Israel or Saudi Arabia or anywhere else.”
The backlash to Mamdani’s comments was quick. In a statement Sunday, Ambassador Ofir Akunis, Consul General of Israel in New York, said, “Mamdani, we do not need your recognition of the Jewish state. If you knew a little history, instead of spending all day inciting and spreading hatred, you would know that Israel’s Declaration of Independence guaranteed full equality for all its citizens. That has been the reality since the day our state was established.”
Mark Dubowitz, CEO of the Foundation for Defense of Democracies think tank, posted on X, “Mamdani is either willfully ignorant or maliciously mendacious,” adding that “Israel has no official state religion.”
He also stated that there are multiple countries for which Islam is the state religion, with additional Muslim-majority countries declaring Islam as the state religion in their constitutions.
Karl also asked Mamdani about his broader views on Israel, which became a prominent issue during the New York Democratic primaries, particularly among candidates who support Israel and continued U.S. military aid.
Mamdani said voters made it clear that “they were tired of tens of billions of dollars being spent in our taxpayer dollars to violate international law to kill thousands of civilians.”
He added that currently “Palestine is described as if there is a ceasefire,” but more than 1,000 Palestinians have been killed during it. He said New Yorkers want to “follow international law, to believe in the humanity for all.”
Karl also pressed the mayor on the Poetica coffee shop incident in Brooklyn last week, where staff refused to take New York Democratic Rep. Dan Goldman’s money for a coffee purchase, calling him a “genocide enabler” because he supports Israel.
Mamdani said while he has “political disagreements” with Goldman (who lost his seat to Mamdani-backed Brad Lander), “I do believe that that’s a response that goes beyond that.”
And when asked about rising antisemitism in New York City, the mayor said that while Jews are a minority of the city’s population, they constitute a majority of victims of the hate crimes committed in the city. ”That’s something that’s unacceptable,” he said.
Akunis said, however, that “The surge in antisemitism across the United States, and particularly in New York, is the result of ignorance and a lack of knowledge, combined with a fundamental hatred of the Jewish people.”
He added, “I once again warn that Mamdani’s inflammatory rhetoric will end in very serious and violent acts against Jewish and Israeli communities throughout the city.”
This article originally appeared on JTA.org.
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