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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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Why protests in Iran seem surprisingly pro-Israel
Iranian cities are engulfed in anti-regime protests, the largest in several years. Initially sparked by economic frustration, the demonstrations have quickly expanded to include broader grievances — particularly anger at Iran’s foreign policy. One chant heard repeatedly in videos circulating from inside Iran captures that anger succinctly: “Neither Gaza, nor for Lebanon — my life is only for Iran.”
The slogan refers to Iran’s long-standing support for armed groups across the Middle East, including Hezbollah in Lebanon, Hamas and Palestinian Islamic Jihad in Gaza, the Houthis in Yemen, and militias in Iraq and Syria. Qassem Soleimani, the late commander of the Islamic Revolutionary Guard Corps’ Quds Force, designed the strategy with the intention of encircling Israel with proxy forces on multiple fronts.
Today, many Iranians view that strategy as a drain on a collapsing economy. On December 28, the Iranian rial — the country’s currency — plunged against the U.S. dollar, intensifying a long-running economic crisis marked by soaring prices and an annual inflation rate of around 40 percent.
Beyond the billions of dollars Tehran has spent supporting these groups, the U.S. and European Union have imposed harsh sanctions targeting Iran’s proxy networks and nuclear program. Those sanctions have restricted Iran’s access to international banking, restricted oil exports, and discouraged foreign investment into the country, contributing to inflation and the steady erosion of the rial.
In June, Iranians came face to face with the consequences of the regime’s foreign policy when Israeli strikes across the country targeted missile and nuclear sites, as well as IRGC leaders. The 12-Day War severely disrupted daily life and resulted in the death of 436 Iranian civilians.
For many protesters, the connection feels direct: money spent sustaining proxy forces abroad brings harsher sanctions at home, raising prices, shrinking wages, and worsening daily life. With that in mind, the chant is less an endorsement of Israel than a rejection of a foreign policy that, in protesters’ eyes, prioritizes anti-Israel and anti-Western ideology over basic economic survival.
The return of monarchist symbolism
Many protesters are also calling for the return of the Pahlavi dynasty, which ruled Iran until the 1979 Islamic Revolution. Videos shared online show protesters chanting slogans in favor of the former monarchy or displaying symbols associated with it, including the pre-revolutionary Iranian flag.
The Pahlavi era was marked by rapid modernization and close ties with the United States and Israel, including a strategic alliance with Israel that consisted of economic and intelligence cooperation. At the same time, the period was also defined by political repression, censorship, and the use of secret police to silence dissent — factors that ultimately fueled the revolution that ended the monarchy.
The most prominent figure associated with the dynasty today is Reza Pahlavi, the Shah’s son, who lives in Maryland and has been outspokenly pro-Israel. Pahlavi has called for normalizing relations between Iran and Israel through what he has dubbed the “Cyrus Accords,” an expansion of the Abraham Accords. Pahlavi has commented that the “only two countries on this planet that can claim to have a biblical relationship” are “Iran and Israel.”
In April 2023, Pahlavi traveled to Israel, where he met with Prime Minister Benjamin Netanyahu, President Isaac Herzog, and paid a visit to the Western Wall, where he said he prayed “for the day when the good people of Iran and Israel can renew our historic friendship.” He even consulted Israeli water management scientists, whom he dubbed the “best experts in the field,” to help him develop a plan of action for Iran’s water crisis, which has also been a major point of contention for protestors. In June, Pahlavi’s daughter married Jewish American businessman Bradley Sherman, and the hora was danced at the reception.
On Thursday, Pahlavi called on Iranians to take to the streets en masse. Since his call to action, the protests have escalated significantly, though the extent of his influence inside Iran remains difficult to assess.
Many analysts caution that monarchist support inside Iran remains fragmented, and that Pahlavi is unlikely to emerge as a singular opposition leader. Still, the symbolism matters. The current protests have been driven in large part by young Iranians, many of whom have no direct memory of the Pahlavi era. The use of monarchist symbolism may signal not only nostalgia, but also an alternative vision of Iran’s place in the world — one less defined by permanent hostility toward Israel.
The post Why protests in Iran seem surprisingly pro-Israel appeared first on The Forward.
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God heard the cries of Israelites in Egypt. Who will respond to our devastation in Minnesota?
In this week’s Torah portion, Shemot, God hears the cries of the oppressed Israelites in Egypt and calls out to Moses through the form of a burning bush.
Today, here in Minnesota, cries of the oppressed can be heard, too. They come from all those who grieve the tragic loss of Renée Nicole Good, fatally shot by an Immigration and Customs Enforcement agent on Wednesday morning in front of her wife and horrified neighbors. And they come from all those feeling fear and outrage as federal agents have increased their efforts to detain immigrants, acting with new violence and brutality as they do so.
Many of my fellow Minnesotans have been frightened to leave their homes. They are not going to the jobs they rely on to afford their basic needs, or attending worship services. Parents are scared to send their children to school. Schools, daycare centers and businesses are afraid to open, as ICE makes arrests on their doorsteps. Community members who have been eager to help are now fearful, in the wake of Good’s killing, that they, too, may be targeted, harassed, or even killed.
My own child’s elementary school moved recess indoors to protect vulnerable students and staff who are worried about their safety from ICE.
In Shemot, God calls to Moses to usher in an era of change for the Israelites desperate for relief from fear, violence and vicious retribution. Moses hesitates, asking “who am I?” to take on this monumental task. God assures him that he is not alone, because God will be with him throughout the journey.
As we enter this Shabbat, with the tragedy of Good’s death fresh in our minds, we must commit ourselves to hearing the cries of all who suffer among us. That is the first step toward healing and repairing the brokenness that so many now feel.
That repair will be a monumental task. But like Moses, we are not called to do it alone.
In fact, we must not try to. Instead, we must focus our efforts on building bonds in the face of terror — not letting that terror break our connections to one another.
The Jewish sages taught that, for our ancestors, sinat chinam — baseless hatred — led to internal fracture, civil war, the destruction of both Jewish temples, and our people’s forced exile from the land of Israel. Their warning is not abstract. It reminds us that societies collapse not only because of external threats, but also because of the consequences of unmitigated internal rage.
What’s needed to correct our dangerous path?
First, a strong pushback against those voices who have issued incomprehensible personal attacks against Good since her death. Too many federal officials and media personalities have not only failed to express empathy for a life lost, but also used her death to inflame polarization.
Our state desperately needs calm and clarity. Our leaders and our citizens must forcefully affirm that Good’s death was needless and tragic, and that we will not go along with attempts to rewrite that truth.
As part of this affirmation, we must call on the federal government to allow the professional and nonpartisan Minnesota Bureau of Criminal Apprehension to fully participate in the investigation of Good’s death. No matter what findings are ultimately reached, the investigation’s credibility relies upon it being done in partnership with state and federal officials.
This event has proven what many of us already knew: The ongoing surge of more than 2,000 ICE agents into Minnesota is counterproductive to restoring public safety and public trust. Minnesotans desperately want to return to normalcy. We want to feel safe in going to school, to work, and to spend time with family and friends. ICE has brought fear and anxiety into our lives, not peace or justice. They must go.
Our country’s immigration system has been broken for decades. Congress has at points come close to reaching bipartisan, consensus-driven, comprehensive immigration reform, but political polarization has made such compromises all but impossible to reach.
We must redouble our efforts to build an immigration system based upon respect for the rule of law, compassion, and an understanding of the vital role that immigrants play in strengthening our society as a whole.
We ask our fellow Minnesotans to treat members of law enforcement, and the men and women of our Minnesota National Guard, with patience and kindness. And we urge our community to exercise compassion for the vulnerable in the days ahead.
As Jewish Americans, we have a long and proud history of supporting immigrant communities — remembering that we too were once strangers in a strange land. Not just our ancestors in ancient Egypt, whose anguish this week’s Torah portion recounts, but also here, in the U.S. We must reinvigorate that commitment — for the sake of Good’s memory, our immigrant neighbors, and the health of our whole society.
The post God heard the cries of Israelites in Egypt. Who will respond to our devastation in Minnesota? appeared first on The Forward.
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Mamdani Remains Silent on Pro-Hamas Synagogue Protest, Other NYC Lawmakers Issue Condemnations
New York City Mayor Zohran Mamdani delivers a speech during his inauguration ceremony in New York City, US, Jan. 1, 2026. Photo: REUTERS/Kylie Cooper
Newly inaugurated New York City Mayor Zohran Mamdani has remained silent regarding an anti-Israel protest outside a Queens synagogue on Thursday evening that featured chants supporting Hamas and prompted nearby Jewish institutions to shut down out of safety concerns.
The demonstration took place outside Young Israel of Kew Gardens Hills, where an event promoting Israeli real estate investments was scheduled. Dozens of protesters chanted slogans including “Globalize the intifada” and “Say it loud, say it clear, we support Hamas here,” according to video footage shared online. Hamas is designated a terrorist organization by the United States and the architect behind the Oct. 7 massacres in Israel which killed roughly 1200 and resulted in the abduction of 250 others.
The protest also unfolded near the Yeshiva of Central Queens, leading synagogue leaders to cancel evening prayer services and local schools to dismiss students early. While the New York Police Department maintained a buffer zone and no major violence was reported, residents described the atmosphere as tense and intimidating.
A chorus of condemnation has come from city and state lawmakers since the protest.
State Assemblyman Sam Berger, whose district includes the synagogue, said the mayor’s failure to speak out was “deeply concerning,” arguing that city leadership has a responsibility to draw clear lines when protests target houses of worship.
“This wasn’t an abstract political rally,” Berger said. “It was outside a synagogue, in a residential Jewish neighborhood, with chants that glorify violence. The mayor should be unequivocal.”
Governor Kathy Hochul, by contrast, swiftly condemned the protest, calling the chants “disgusting” and emphasizing that support for Hamas has no place in New York.
“No matter your political beliefs, this type of rhetoric is disgusting, it’s dangerous, and it has no place in New York,” Hochul wrote.
NYC Council Speaker Julie Menin wrote that “openly and proudly sympathizing with Hamas, especially while standing in the largely Jewish community of Kew Gardens Hills, stokes fear and division.”
Mark Levine, NYC Comptroller, repudiated the demonstrations, saying they “cannot be normalized or excused.”
Rep. Ritchie Torres, a Bronx Democrat, also denounced the demonstration, saying rhetoric that praises terrorist organizations amounts to hate, not legitimate political speech.
Meanwhile, as criticism mounted from state and federal officials, Mamdani, who took office just days earlier, did not issue a direct statement condemning the protest or the rhetoric used by demonstrators.
The protest was organized by groups affiliated with the Palestinian Assembly for Liberation (PAL-Awda) NY/NJ, which has previously promoted demonstrations targeting Israel-related events. Organizers framed the rally as opposition to Israeli land sales, but Jewish leaders say the location and language crossed a line.
The episode echoes earlier controversies surrounding Mamdani, who has faced criticism in the past for what opponents describe as equivocation when anti-Israel protests occur near Jewish religious spaces. In a previous incident outside an Upper East Side synagogue, Mamdani criticized language used by the protesters while simultaneously condemning the synagogue for hosting real estate events.
The protest comes amid an alarming surge in antisemitic hate crimes across New York City.
Jews were targeted in the majority (54 percent) of all hate crimes perpetrated in New York City in 2024, according to data issued by the New York City Police Department (NYPD). A new report released on Wednesday by the New York City Mayor’s Office to Combat Antisemitism, which was established in May, noted that figure rose to a staggering 62 percent in the first quarter of this year, despite Jewish New Yorkers comprising just 11 percent of the city’s population.
After securing the election, Mamdani has repeatedly stressed a commitment to forcefully combatting antisemitism while in office. However, a recent report released by the Anti-Defamation League (ADL) revealed that at least 20 percent of Mamdani’s transition and administrative appointees have either a “documented history of making anti-Israel statements” or ties to radical anti-Zionist organizations that “openly promote terror and harass Jewish people.”
Mamdani, a far-left democratic socialist and avowed anti-Zionist, is an avid supporter of boycotting all Israeli-tied entities who has made anti-Israel activism a cornerstone of his political career and been widely accused of promoting antisemitic rhetoric. He has repeatedly accused Israel of “apartheid” and “genocide”; refused to recognize the country’s right to exist as a Jewish state; and refused to explicitly condemn the phrase “globalize the intifada,” which has been associated with calls for violence against Jews and Israelis worldwide.
