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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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Prized Sketchbook at Palace of Versailles Was Stolen by Nazis During WWII, Investigation Reveals
The Palace of Versailles. Photo: Sandrine Marty / Hans Lucas via Reuters Connect
The Palace of Versailles said it will conduct further research into the origins of a sketchbook owned by French painter Jacques-Louis David after a recent investigation revealed that it was stolen by the Nazis during World War II before joining France’s national collection.
Radio France said on Monday that it launched an investigation into the provenance of the prized sketchbook after being contacted by a descendant of its original owner. The broadcaster said just “a few weeks” later, it had compiled enough evidence to support the descendant’s claim about the sketchbook being looted by the Nazis during the war.
The evidence relies on public data accessible online, such as diplomatic archives and the French Holocaust Memorial’s database of Nazi-stolen property. France’s Ministry of Culture admitted that both the ministry and the Palace of Versailles did not know the sketchbook was stolen by Nazis during World War II, but they vowed to “continue research on this notebook and have discussions with the descendants of the owners.”
The Ministry of Culture told Radio France that in the Palace of Versailles, a team of three people are “actively working and reviewing works in the collections to verify their provenance” but the team “had not yet examined this notebook.”
A relative of the sketchbook’s original owner took Radio France he was shocked when he discovered by chance that the Nazi-looted sketchbook was a part of the collection at Versailles. “It’s a key work by David, and the Palace of Versailles does a lot of publicity around these notebooks … So, I’m very surprised that there isn’t more research into their provenance,” he said. “At the moment, there are 100 police officers looking for jewels stolen from the Louvre while to return the works stolen – and there are many at the Louvre and other museums – I find that the means are very, very low.”
The sketchbook dates back to 1790 and includes drawings, sketches, and notes related to one of David’s most famous works, “The Tennis Court Oath” (1790), a painting about the French Revolution that was never finished. The painting belongs to the Palace of Versailles but is currently on display in the Louvre as part of its limited time exhibition that celebrates the 200th anniversary of David’s death. The sketchbook is not part of the exhibit.
German Nazi soldiers stole an entire library, including David’s sketchbook, from Professor Lereboullet in July 1940 when they occupied his home. Lereboullet’s daughter Odile reported the theft in November 1945 to the Commission for Art Recovery (CRA), a French public body responsible for recovering and returning looted pieces of art to their rightful owners or their heirs. She never received a response from the CRA. The sketchbook reappeared in January 1943, when it was sold at auction by the Karl & Faber art gallery in Munich, Germany. It came into the possession of German Jewish art dealer and art historian Otto Wertheimer. A former German professor of art history and curator at the National Museum in Berlin, Wertheimer himself fled Nazi persecution and settled in Paris in 1944. He became a well-known art dealer who provided museums with masterpieces and missing pieces of European art. He sold the David sketchbook to the Palace of Versailles in 1951.
The Palace of Versailles has previously returned only one Nazi-looted item to its original owners: a small Louis XVI era writing table that was returned in 1999.
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Israeli Singer Noa Kirel Blasts Anti-Israel Boycotts of Eurovision Contest: ‘Letting Politics Ruin the Celebration’
Noa Kirel performing “Unicorn” for Israel at the first semifinal at the 2023 Eurovision Song Contest. Photo: ESC/Sarah Louise Bennett
Israeli pop star Noa Kirel lambasted the countries that have decided to boycott the 2026 Eurovision Song Contest because of Israel’s participation, defended her country’s involvement in the competition.
On Wednesday, Iceland joined Ireland, Spain, Slovenia, and The Netherlands in announcing that it will pull out from next year’s Eurovision in protest of Israel’s participation due to its military actions in the Gaza Strip during its war against Hamas terrorists. The war started after Hamas-led terrorists carried out a deadly massacre in southern Israel on Oct. 7, 2023.
Ireland, Spain, Slovenia, and The Netherlands made their announcement last week after the European Broadcasting Union, which organizes the competition, decided to allow Israel to participate in the song contest.
Kirel, who represented Israel in the 2023 Eurovision and finished in third place, told the BBC podcast “The World Tonight” on Wednesday she was “deeply disappointed” that countries have decided to withdraw from the 2026 Eurovision, set to take place in Vienna, Austria, in May. She spoke to the podcast before news broke about Iceland’s withdrawal.
“Eurovision is a bridge, not a wall, and the heart of this competition is to connect hearts through music,” she said. “Unfortunately, some countries are letting politics ruin the celebration. Israel has not violated any rules of the Eurovision. Israel is a peace-seeking nation.”
Kirel also clarified key details about the deadly Hamas-led terrorist attack in southern Israel on Oct. 7, 2023, which launched the Israel-Hamas war in Gaza. “On Oct. 7, Israel did not attack anyone,” the singer noted. “Israel was brutally attacked in a way unseen before. Entire families were murdered, including children. Civilians were kidnapped. Israel defended itself like any other nation would do and those countries are choosing to see the opposite, to ignore the reality. And to boycott Israel – that is antisemitism. I think boycotting Israel on political fronts – it’s not just an injury to us; it’s an injury to everything that Eurovision represents.”
Kirel further noted that claims about Israel manipulating votes during the 2025 Eurovision are total “nonsense” and added, “Instead of searching for excuses for [Israel’s] success, let’s focus on music.”
Wednesday was the deadline for countries to confirm whether they will join the 2026 Eurovision or withdraw without being penalized. Eurovision Director Martin Green said, “We respect the decision of all broadcasters who have chosen not to participate in next year’s Eurovision Song Contest and hope to welcome them back soon.”
Iceland’s national broadcaster RÚV said it believes Israel’s participation in the Eurovision has “created disunity among both members of the European Broadcasting Union and the general public.”
“There is no peace or joy connected to this contest as things stand now. On that basis, first and foremost, we are stepping back while the situation is as it is,” added RÚV Director-General Stefan Eiriksson.
Israel has won the Eurovision Song Contest four times, most recently in 2018, and came second in last year’s contest.
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Columbia University Antisemitism Task Force Calls for Viewpoint Diversity on Israel, Zionism
Students walk on campus at Columbia University in New York City, US, Sept. 2, 2025. Photo: REUTERS/Ryan Murphy
Columbia University’s Antisemitism Task Force on Tuesday implored the school to foster “intellectual diversity” with respect to the subjects of Zionism and the Israeli-Palestinian conflict, concluding its fourth and final report on the origins of antisemitism on the campus.
As previously reported by The Algemeiner, Columbia University was, until the enactment of recent reforms, the face of anti-Jewish hatred in higher education in the aftermath of the Hamas-led Oct. 7, 2023, massacre across southern Israel. Dozens of reported antisemitic incidents transpired on its grounds, including a student’s proclaiming that Zionist Jews deserve to be murdered and are lucky he is not doing so himself and the participation of administrative officials, outraged at the notion that Jews organized to resist anti-Zionism, in a group chat in which each member took turns sharing antisemitic tropes which described Jews as privileged and grafting.
In its report, the Columbia Task Force on Antisemitism cited ideological conformity — as well as professors’ discussing the Middle East as would politicians framing a narrative which aims for accessibility and the swaying of democratic opinion — as an outsized contributor to the climate which yielded the slew of outrages.
“The [Columbia Faculty Handbook] is clear that [professors] should stick to the subject matter of the course and avoid political advocacy in the classroom,” the report said. “We heard from many students that an academic perspective that treats Zionism as legitimate is underrepresented in Columbia’s course offerings, compared to a perspective that treats it as illegitimate. The university should work quickly to add more intellectual diversity to these offerings.”
The task force also said that it is the university’s responsibility to reconcile viewpoint diversity —which may give voice to ideas which some deem offensive — with an American culture which prizes unfettered free speech, meritocracy, social equality, and racial and ethnic plurality, all at once. The university must not censor ideas, the report said, but it also cannot facilitate discrimination — which the American government, responding to popular outrage over racism perpetrated against African Americans, proscribed by passing the Civil Rights Act in 1964. In the 60 years since the law’s passage, lawmakers and the courts have affirmed the law’s applicability to other protected groups, including, women, sexual minorities, the Jewish people, and, among many others, Arab Muslims.
“When faculty members publish books, studies, articles, or other academic work, drawing on their expertise and using the methodologies of their disciplines, this work generally should be protected, even if it offends other members of our community, so long as it does not violate antidiscrimination laws,” the report continued. “We recommend seeking ways to comply with antidiscrimination laws that do not limit offensive speech. In some cases, for example, the university may be able to respond to offensive speech by condemning it instead of limiting it.”
It added, “Admittedly, condemning speech might at times be in tension with a commitment to institutional neutrality. Yet, when a university is faced with a choice between limiting speech, on the one hand, or condemning it, on the other, the latter strikes us as a less restrictive response.”
Even as it pursues a policy of “no orthodoxies,” the university must also protect itself from “outside influence” which may, for political purposes, demand its adoption of a particular viewpoint, the report continued. Donors, federal and state governments, or American voters, whose agents of action are their representatives in government, all “present challenges to academic freedom.”
In a statement, Columbia University president Claire Shipman thanked the task force for its work and said the university will “work on” translating its recommendations into policy.
“The work of this task force has been an essential part of the university’s efforts to address the challenges faced by our Jewish students, faculty, and staff,” Shipman said. “We have also been working this semester to focus on discrimination and hate more broadly on our campuses — which has long been a strong recommendation of the task force. All of this work must become part of our DNA.”
As previously reported by The Algemeiner, Columbia University agreed in July to pay over $200 million to settle claims that it exposed Jewish students, faculty, and staff to antisemitic discrimination and harassment — a deal which secured the release of billions of dollars in federal grants the Trump administration had impounded to pressure the institution to address the issue.
Claiming a generational achievement for the conservative movement, which has argued for years that progressive bias in higher education is the cause of anti-Zionist antisemitism on college campuses, US Secretary of Education Linda McMahon said the agreement included Columbia’s pledging to “discipline student offenders for severe disruptions of campus operations” and “eliminate race preferences from their hiring and admission practices and [diversity, equity, and inclusion, or DEI] programs that distribute benefits and advantages based on race” — which, if true, could mark the opening of a new era in American higher education.
“Columbia’s reforms are a roadmap for elite universities that wish to retain the confidence of the American public by renting their commitment to truth-seeking, merit, and civil debate,” McMahon added. “I believe they will ripple across the higher education sector and change the course of campus culture for years to come.”
Follow Dion J. Pierre @DionJPierre.