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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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Remains of final hostage Ran Gvili on way back to Israel after being located in Gaza
(JTA) — The remains of the final Israeli hostage in Gaza, Ran Gvili, have been retrieved and are on their way back to Israel for burial.
The announcement by the Israeli military marks a significant milestone for the Israeli public, which transformed into a communal vigil for the hostages taken when Hamas attacked on Oct. 7, 2023. It also removes an obstacle to the second phase of the U.S.-brokered ceasefire between Israel and Hamas.
Gvili, a 24-year-old police officer, was killed defending Kibbutz Alumim on Oct. 7. His remains were recovered from a cemetery in Gaza City during a major military operation, the IDF said. Hundreds of bodies were reportedly exhumed during the search and are being reburied.
“The return of Ran z”l for burial is a painful moment of closing the circle—with the return of the last hostage from the Gaza Strip territory to the soil of Israel,” said Israeli Minister of Defense Israel Katz in a post on X. “This is a moment that underscores the State of Israel’s commitment to its fighters and citizens: to bring every single one home—as we promised the families and the public in Israel. This is mutual responsibility.”
Four of the hostages released under the ceasefire deal had been held since before Oct. 7, meaning that Gvili’s return marks the first time since 2014 that there will be no Israeli hostages in Gaza.
Earlier this month, the Trump administration announced that the second phase of the Gaza ceasefire had commenced despite opposition from Gvili’s family who said his body should be returned first.
Since then, the Trump administration has announced the formation of an international “Board of Peace” to oversee the ceasefire and presented plans for the reconstruction of Gaza. On Monday, Israeli Prime Minister Benjamin Netanyahu’s office announced that it would reopen the border between the Gaza Strip and Egypt after the search for Gvili’s remains was completed.
Gvili’s mother, Talik, said the news of his return is “a relief, after these two and a half years, even though we hoped for a different ending,” according to the Times of Israel.
The discovery of Gvili’s remains was also celebrated by Israeli soldiers at the cemetery where he was found. Video of the soldiers posted on X showed many embracing and singing “Ani Ma’amin,” a Hebrew song meaning “I Believe.”
Some Jews and Jewish institutions removed their hostage necklaces and dismantled their displays in support of the hostages after all of the remaining living hostages were released in October. Others posted social media videos of themselves doing so on Monday following the news of Gvili’s return.
Speaking to the media in the Knesset on Monday, Netanyahu said, “We promised, and I promised, to bring everyone back, and we brought everyone back,” adding, “Rani is a hero of Israel. He went in first, he came out last. He came back.”
The post Remains of final hostage Ran Gvili on way back to Israel after being located in Gaza appeared first on The Forward.
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Columbia selects Jennifer Mnookin, Jewish U of Wisconsin chancellor, as its next leader
(JTA) — Three different women have taken turns as Columbia University’s president amid ongoing turmoil surrounding the handling of pro-Palestinian protests on the New York City campus. Now, Columbia has invited a fourth — and the first to be Jewish — to try her hand at running the Ivy League school.
Jennifer Mnookin, the chancellor of University of Wisconsin, has been chosen as Columbia’s next president, the co-chairs of the school’s board of trustees announced on Sunday. She will be the school’s first Jewish leader since Oct. 7, 2023, when Hamas attacked Israel, triggering a war in Gaza and a student protest movement in the United States of which Columbia was an epicenter.
Mnookin, a legal scholar, served as dean of the University of California, Los Angeles School of Law before moving to Wisconsin in 2022. At least two other candidates reportedly declined the Columbia position prior to her selection.
She takes the helm at a delicate time for Columbia as it continues to reel from the fallout of the student protests, which has included included penalties from the Trump administration, rapid leadership changes and ongoing fear and anxiety among many Jewish students.
“I am honored and thrilled to join Columbia University at this important moment,” Mnookin said in a statement released by the university. “Columbia is defined by rigorous scholarship, a deep commitment to open inquiry, world-class patient care, and an inseparable and enduring connection to New York City, the greatest city in the world.”
She follows three other women who struggled amid the turmoil. The president in charge on Oct. 7, Nemat Minouche Shafik, cited the “period of turmoil” that followed when she resigned in 2024; she had faced criticism from members of Congress as well as the Columbia community over her handling of the student encampment that formed this year.
Her temporary replacement, Katrina Armstrong, stepped down in March 2025 as the school faced pressure from the Trump administration over antisemitism allegations. Armstong’s successor, the current interim president, Claire Shipman, struck a $221 million deal with Trump to settle the claims; she also apologized soon after taking office for having suggested the removal of a Jewish member of the school’s board of trustees.
Now, Mnookin will be responsible for managing Columbia’s relationship with federal authorities, weighing and implementing the recommendations of its antisemitism task force and healing a divided campus, which has been closed to outsiders now for years.
“The last few years have been undeniably difficult for the Jewish and Israeli communities on campus. While challenges remain, there is a vibrant, joyful, proud Jewish community at Columbia,” Brian Cohen, executive director of Columbia/Barnard Hillel, said in a statement. “I am hopeful that President-elect Mnookin will bring the reputation, experience, and understanding that we need to build on that strong foundation.”
It will be Mnookin’s first time working at a private university. At Wisconsin, first sent law enforcement to shut down a student encampment, then negotiated with protesters after they established a second one. The deal required Students for Justice in Palestine to comply with university rules related to protest in exchange for the right to present their divestment demands to “decision makers,” who did not accede to them.
She also denounced neo-Nazi protesters who marched on the Wisconsin campus in November 2023, calling them “utterly repugnant.” Through it all, she gained a reputation for promoting open inquiry and academic freedom — even as Wisconsin, like dozens of other universities, faced a federal investigation over antisemitism allegations.
“I think universities should be spaces where ideas, and different ideas, embodied by people from different backgrounds, come together, and where it won’t always be comfortable, but where we will learn and do better from that engagement,” she said in a roundtable of college presidents published in The New York Times in November. (The other presidents were also Jewish: Sian Bellock of Dartmouth College and Michael Roth of Wesleyan University, who has emerged as a rare leader in higher education who is willing to spar with the Trump administration.)
Mnookin was raised in a Reform Jewish family in the Bay Area that escalated its Jewish engagement when she asked to celebrate her bat mitzvah, according to her father Robert. A scholar of conflict negotiation, he described the evolution in his 2015 book “The Jewish American Paradox: Embracing Choice in a Changing World,” which he said he wrote in part to explore his own late-onset attachment to Judaism.
The post Columbia selects Jennifer Mnookin, Jewish U of Wisconsin chancellor, as its next leader appeared first on The Forward.
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Tim Walz invokes Anne Frank in pressing Trump to end ICE operations in Minnesota
(JTA) — Tim Walz, the governor of Minnesota, invoked Anne Frank in exhorting President Donald Trump to call off the ICE operations in the Twin Cities in which a second protester was killed over the weekend.
Speaking at a press conference on Sunday, Walz — whose master’s degree focused on Holocaust education — suggested that the conditions facing children in his state during the Trump administration’s aggressive immigration enforcement raids were of a kind with those facing Frank during the Holocaust.
“We have got children in Minnesota hiding in their houses, afraid to go outside. Many of us grew up reading that story of Anne Frank,” he said. “Somebody is going to write that children’s story about Minnesota.”
The prominent mention of Frank, who died of disease in a Nazi concentration camp after her family’s hiding place was betrayed, adds to a growing discourse about whether ICE’s operations targeting immigrants in Minnesota can be compared to the Nazis’ tactics in rooting out Jews during the Holocaust. Figures such as Stephen King and Bruce Springsteen have likened ICE to the Gestapo.
Until recently, Nazi comparisons were long considered inappropriate by many in the Jewish world who argued that such analogies cheapen the memory of the particular genocide against the Jews. In the last decade, that norm has to some degree fallen away, with voices on both the right and left likening their opponents to Nazis.
On Sunday, some of Walz’s critics denounced his comments and said an immigration crackdown cannot be compared to the deliberate murder of Jews. Retweeting an account called Stop Wokeness, the activist Shabbos Kestenbaum tweeted, “One million Jewish children were killed during the Holocaust. Illegal immigrants are offered thousands of dollars to take a free flight home. Tim Walz is an evil retard.”
In a post on X responding to Walz’s analogy, Stephen Miller, a top aide to Trump, wrote, “The purpose of the rhetoric is to incite attacks on ICE.”
But others said the comparison was apt, with a quotation from Frank’s diary circulating widely online as it did in 2019 in response to ICE raids then. The quotation, those sharing it suggested, offered a close parallel to what has been playing out in Minnesota.
“Terrible things are happening outside,” the passage says. “Poor helpless people are being dragged out of their homes. Families are torn apart; men, women and children are separated. Children come home from school to find that their parents have disappeared. … Everyone is scared.”
Jewish voices, too, have invoked the Holocaust in arguing for intervention in Minnesota, where federal agents on Saturday shot and killed a man, Alex Pretti, who had been protesting their presence.
“What did we learn from the Holocaust? We have to act and we have to resist,” one rabbi who flew into Minnesota to protest told the Religion News Service last week.
Walz, a Democrat who was the vice presidential candidate in 2024, wrote a master’s thesis on Holocaust education, arguing that the Holocaust should be taught “in the greater context of human rights abuses,” rather than as a unique historical anomaly or as part of a larger unit on World War II.
“Schools are teaching about the Jewish Holocaust, but the way it is traditionally being taught is not leading to increased knowledge of the causes of genocide in all parts of the world,” he wrote in his 2001 thesis, completed while he was a high school teacher.
The post Tim Walz invokes Anne Frank in pressing Trump to end ICE operations in Minnesota appeared first on The Forward.
