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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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Hamas’s Grip on Gaza NGOs Exposed as World Plans Post-War Rebuilding Efforts
Palestinians gather to collect aid supplies from trucks that entered Gaza, amid a ceasefire between Israel and Hamas, in Khan Younis, in the southern Gaza Strip, Oct. 11, 2025. Photo: REUTERS/Ramadan Abed
As world powers outline multi-billion-dollar plans to rebuild Gaza, newly obtained documents reveal that Hamas has long run a coordinated effort to penetrate and influence NGOs in the war-torn enclave — contradicting years of denials from major humanitarian organizations.
On Wednesday, NGO Monitor — an independent Jerusalem-based research institute that tracks anti-Israel bias among nongovernmental organizations — released a new study revealing how Hamas has for years systematically weaponized humanitarian aid in Gaza, tightening its grip over foreign NGOs operating in the territory and exposing patterns of complicity and collaboration that contradict the groups’ persistent denials.
While international media has repeatedly accused Israel of unfairly and illegally targeting humanitarian NGOs, Israeli officials have long argued that many of these groups have been infiltrated and manipulated by Hamas, the Palestinian terrorist group that has ruled Gaza for nearly two decades — with the extent of NGO involvement far deeper than their public statements suggest.
Dozens of internal Hamas documents are now being published, providing systematic evidence and even detailing the officials tasked with coordinating and overseeing the Islamist group’s interactions with international NGOs.
According to the documents, Hamas officials designated specific points of contact with “highly respected” international NGOs, including Doctors Without Borders, Oxfam, Save the Children, and the Norwegian Refugee Council.
Referred to as “guarantors,” these Hamas-approved senior officials at each NGO allowed the terrorist group to closely oversee activities, influence decision-making, and circumvent restrictions imposed by some Western governments on direct engagement with Hamas.
Gerald Steinberg, founder and president of NGO Monitor, said the newly released study offers a crucial guide for the US and its allies to vet aid partners, emphasizing the need to carefully screen NGOs to prevent a repeat of Hamas’s domination of Gaza’s reconstruction efforts.
“This research is timely and highly consequential,” Steinberg said in a statement. “Governments and international organizations are planning to provide billions of dollars for the rebuilding of Gaza, and will partner with numerous NGOs to reconstruct infrastructure, provide municipal services like utilities and education, and probably distribute cash payments.”
“We now know which NGOs and their local affiliates have been propping up the Hamas terror regime,” he continued.
The study also found that at least 10 “guarantors” — senior NGO officials — were not just Hamas-approved, but were also members, supporters, or employees of Hamas-affiliated authorities, who leveraged their positions in numerous NGOs to create Hamas-approved beneficiary lists for UN and other aid programs.
According to one of the obtained internal documents, Hamas conducted extensive surveillance of NGO officials in Gaza, noting that the “guarantors” across 48 NGOs “can be exploited for security purposes” to infiltrate foreign organizations and listing the names and personal details of 55 individuals already serving in those roles.
The document also explicitly outlines the terrorist organization’s intent to further develop or compel “guarantors” to serve as intelligence assets.
The findings appear to corroborate the concerns of many experts and Israeli officials, who have long said that Hamas steals much of the aid flowing into Gaza to fuel its terrorist operations and sells the remainder to Gaza’s civilian population at an increased price. Jerusalem has also said that aid distribution cannot be left to international organizations, which it accuses of allowing Hamas to seize supplies intended for the civilian population. According to UN data, the vast majority of humanitarian aid entering Gaza during the Israel-Hamas war was intercepted before reaching its intended civilian recipients.
With NGOs in Gaza — both local and international — required to secure Hamas’s approval to provide services and run projects, the report shows the group wields veto power over humanitarian operations, allowing it to control, manipulate, and exploit aid to advance its political and military objectives.
“NGO Monitor’s groundbreaking report proves that Hamas controls all humanitarian operations in Gaza, on an institutional level and an individual one,” Naftali Shavelson, NGO Monitor international spokesperson, said in a statement.
“There is no NGO freedom of operation in Gaza. And most crucially, never once did NGOs say anything about this Hamas infiltration,” he continued. “If anything, they issued statements blaming their inhibited operations on Israel – thus ignoring the problem and allowing Hamas to continue harming Gazans.”
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NYC principal turns down Holocaust survivor’s talk over his ‘messages around Israel and Palestine’
(JTA) — A New York City public school principal turned down a parent’s request to host a talk by Holocaust survivor Sami Steigmann, citing content in his presentation that related to “Israel and Palestine.”
In an email to the parent on Nov. 18, the principal of the Brooklyn middle school MS 447, Arin Rusch, said that she believed that hosting Steigman’s presentation was not “right” for the school.
“In looking at his website material, I also don’t think that Sami’s presentation is right for our public school setting, given his messages around Israel and Palestine,” Rusch wrote in an email obtained by the New York Post.
Rusch added that she would “love to explore other speakers” who could talk about the Holocaust and antisemitism. The Post did not name the parent.
Steigmann, 85, speaks frequently about his experiences as a child survivor of the Mogilev-Podolski labor camp from 1941 to 1944, according to his website. During the Holocaust, he was also subjected to Nazi medical experiments and starvation, though he says he does not remember the experiences. His website describes him as a motivational speaker “who lives to tell his story.”
While it was unclear what part of Steigmann’s website Rusch allegedly took issue with, Steigmann’s PowerPoint presentation, which is found on his site, features an Israeli flag as the backdrop of a number of slides.
There is also a slide labeled “Zionism,” which includes various assertions about the founding of Israel, including a definition that Zionism is the “Right of the Jewish people to feel safe and secure in their homeland” and a bullet point calling Zionism a “social justice movement for the Jewish people.”
In a video shared on Facebook by StandWithUs, a nonprofit that trains students in pro-Israel advocacy, Steigmann is seen urging the students to intern with the organization.
On Steigmann’s Instagram page he has also frequently reposted commentary on Israel and antisemitism, including one post from July where he wrote that “Palestine was Jewish before it became Israel.”
Steigmann told The Post that he believed it was wrong for Rusch to deny his presentation, adding that he doesn’t discuss Middle East politics in public schools and would have accommodated a request for him to avoid the subject.
“She didn’t even have the courtesy to call me,” Steigmann told The Post.
The rejection drew condemnation from The Blue Card, a nonprofit that supports Holocaust survivors and with which Steigmann is affiliated.
“It is outrageous that a Holocaust survivor was denied the chance to speak to students,” said Masha Pearl, the executive director of The Blue Note, in a statement. “His testimony as a child survivor of a Nazi labor camp is not political. It is history. Silencing him at a moment of rising antisemitism is dangerous and deeply wrong, and makes New York City less tolerant.”
Pearl also called on Rusch to meet with The Blue Note to discuss Holocaust education as well as on New York City Public Schools Chancellor Melissa Aviles-Ramos to “condemn this act and open an investigation.”
In a statement to the Post, the New York City Department of Education said that it evaluates every speaker to ensure they “maintain political neutrality.”
“We do not shy away from teaching history in our classrooms, and we are proud to have welcomed many Holocaust survivors into our schools, including MS 447, to share their stories. We thoroughly evaluate every classroom speaker and are careful to ensure speakers maintain political neutrality, especially on contentious current events, as required in a public school setting,” Department of Education spokeswoman Nicole Brownstein told The Post.
JTA sought comment from the NYC Department of Education, Mayor Eric Adams’s office and the principal, but did not receive responses.
Moshe Spern, the president of the United Jewish Teachers, an advocacy group. also criticized the rejection in an email on Nov. 26 to Brooklyn District 15 Superintendent Rafael Alvarez and aides for Aviles-Ramos.
“Although [Rusch] mentions that [she] would be open to other speakers, this begs the question of are we now censoring Holocaust survivors for their views on Israel,” wrote Spern. “This action by Principal Rusch is extremely inappropriate and I expect this situation to be remedied immediately.”
New York City Mayor Eric Adam’s office also told The Post that while he was committed to ensuring students hear from Holocaust survivors, Steigmann “wasn’t the right fit.”
“Mayor Adams is dedicated to ensuring all New Yorkers — particularly our students and young adults — hear stories from the genocide and oppression of the Holocaust, so we never again perpetrate such evil,” a City Hall spokesman told The Post. “While this speaker wasn’t the right fit, we will continue to ensure our students hear from the living survivors of this history into the future.”
The post NYC principal turns down Holocaust survivor’s talk over his ‘messages around Israel and Palestine’ appeared first on The Forward.
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Trump appointee promoted after reports he texted about having a ‘Nazi streak’
A group of six Democratic senators is calling on the Trump administration to stop promoting an official who previously faced congressional scrutiny for remarks he reportedly made praising Nazis.
Paul Ingrassia, who previously served as a White House liaison to the Department of Homeland Security, was initially nominated to lead the Office of Special Counsel. But the administration withdrew the nomination in October after several top Republican senators pledged to block his confirmation following revelations of racist and antisemitic comments he was reported to have made in text messages. He was later appointed as deputy general counsel at the General Services Administration. This week, it was announced that he has become acting general counsel of the GSA.
In a letter addressed to Michael Rigas, the GSA’s acting administrator, and to Dan Scavino, a senior Trump aide who oversees the selection and appointment of most government positions, the senators write that Ingrassia’s continued employment is “unacceptable” and “betrays the trust of every American.”
According to a Politico report, Ingrassia wrote in a chat of six GOP operatives and influencers that he has “a Nazi streak from time to time.” The May 2024 comment came after another chat participant joked that Ingrassia “belongs in the Hitler Youth with Obergruppenführer Steve Bannon,” assigning a senior Nazi paramilitary rank to the Republican strategist instrumental in Trump’s 2016 victory, who remains influential within the MAGA movement.
Ingrassia, who also faces allegations of sexual harassment, published in 2023 a blog post urging Elon Musk to reinstate the X account of Nick Fuentes, an avowed white nationalist and Holocaust denier, after he was banned in 2021 for repeated violations of the platform’s content rules. Ingrassia was also reportedly in attendance at a 2024 rally at which Fuentes declared, “Down with Israel.” He has also repeatedly called the October 7, 2023 Hamas attack on Israel a “psyop.”
The Democrats who signed the letter, including Jewish senators Adam Schiff of California and Elissa Slotkin of Michigan, said that Ingrassia’s reappointment to a senior position after Trump himself withdrew his nomination “embraces the very hatred” and antisemitism that the administration proclaims to combat.
“Ingrassia and its multiple attempts to find a place for him in this government betray a concerning willingness to support and, intended or not, promote his extremist, misogynist, and antisemitic views,” they wrote.
Ingrassia is one of several Trump administration appointees who have been scrutinized for remarks offensive to Jews and other minorities. Trump withdrew the nominations of some of his candidates amid the outrage.
The post Trump appointee promoted after reports he texted about having a ‘Nazi streak’ appeared first on The Forward.