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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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Romanians Stabbed Journalist in London at Behest of Iran, UK Court Told
People walk past a mural depicting the late leader of the Islamic Revolution, Ayatollah Ruhollah Khomeini, and the late Iran’s Supreme Leader Ayatollah Ali Khamenei, in Tehran, Iran. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
A team of Romanian men, acting as proxies for the Iranian government, carried out a knife attack on a journalist working for a Persian-language media organization in London, prosecutors told a British court on Monday.
Pouria Zaratifoukolaei, known as Pouria Zeraati, a British journalist of Iranian origin who works for Iran International, was stabbed in the leg three times as he was attacked near his home in Wimbledon, southwest London, in March 2024.
At the start of the trial of two of the three men accused of carrying out the stabbing, prosecutor Duncan Atkinson said they had targeted Zeraati, whose Saudi-funded TV employer is critical of Iran‘s government and has been designated a terrorist organization by Tehran.
‘DELIBERATE, PLANNED VIOLENCE’
“This was no robbery, no fight that got out of control, it was deliberate, planned violence to achieve what it did, that is serious injury to its target,” Atkinson told London‘s Woolwich Crown Court.
They had “committed a planned attack preceded by reconnaissance, and which was ordered by a third party acting on behalf of the Iranian state,” the prosecutor said.
Iran has denied any involvement in the incident.
Nandito Badea, 21, and George Stana, 25, both deny charges of wounding with intent and unlawful wounding. The third man accused of involvement, David Andrei, was arrested in Romania but is not involved in the trial.
Atkinson said Zeraati was an “obvious and readily identifiable target for violence to be inflicted by proxies” acting for Iran. He said posters had been put up in Tehran in November 2022 featuring pictures of journalists including Zeraati, under the heading “Wanted: dead or alive.”
“In recent years, since 2005, the Islamic Republic has turned less to its own operatives and increasingly to use proxies such as criminal gangs to meet their threatened violence on their behalf,” Atkinson said.
“That has included attacks on persons in this country who have become targets of Iranian intimidation and, effectively, terror.”
Atkinson said Zeraati had been subject to “extensive reconnaissance,” and a year before Stana had been arrested in the garden of his apartment with another man, in possession of latex gloves, scissors, and a mask.
On the day of the attack, Badea and Andrei confronted Zeraati as he crossed the street from his home to his car, the prosecutor said. Andrei held him, while Badea stabbed him at the top of his thigh before they fled to a getaway car driven by Stana, the prosecutor added.
The men, who were motivated by money, dumped the car and some clothing, and then took a taxi to Heathrow Airport from where they flew to Geneva, Atkinson said.
The trial, which is expected to last more than two weeks, continues.
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‘Beyond Ironic’: Mamdani’s ‘Nakba’ Video Features Non-Arab Woman Critics Say Has European Roots
New York City Mayor Zohran Mamdani (D) speaking with the press in the Bronx, New York City, May 18, 2026. Photo: Michael Brochstein/ZUMA Press Wire via Reuters Connect
New York City Mayor Zohran Mamdani marked the Palestinian “Nakba” with an official City Hall video featuring a woman presented as a survivor of Israel’s founding war, but critics quickly identified her family as “European settlers” from Bosnia who left Arab-controlled territory.
The backlash came as leaders of mainstream Jewish groups said they would reject invitations to Mamdani’s “Jewish Heritage” celebration at Gracie Mansion on Monday evening.
The video, posted on Friday, features New York resident Inea Bushnaq, identified as a “Nakba survivor,” recounting her family’s departure from their home because, as she termed it, “the Zionists were coming into Jerusalem.”
Nakba is Arabic for “catastrophe,” a term Palestinians use for Israel’s founding and the displacement of hundreds of thousands of Arabs during Israel’s 1948 War of Independence. The Palestinian demand for a “right of return” for the refugees’ millions of descendants is viewed by many Israelis and Jews as a call that would end Israel’s existence by demographic means. Critics said the video’s assertion that the Nakba “continues to this day” echoed that position.
Text in the video says the Nakba refers to the “expulsion and displacement of more than 700,000 Palestinians between 1947 and 1949 during the creation of the State of Israel” and says Israel’s pre-state militaries, “the Haganah, Irgun, and Lehi militias, among others, destroyed more than 400 Palestinian villages and cities, killing thousands of Palestinians and carrying out dozens of massacres.”
“May 15 is the annual commemoration of the Nakba. For Palestinians, their displacement and the Nakba continue to this day,” the video text reads.
The video makes no mention of Arab attacks on Jews before and during the 1948 war, the invasion by Arab armies after Israel’s declaration of independence meant to eradicate the nascent state, the rejection of the UN partition plan that would have created a Jewish and an Arab state, or the expulsion of Jews from parts of Jerusalem that came under Jordanian control.
Speaking in a British accent in the video, Bushnaq, who is described as Palestinian-American, explains how keys have become a Palestinian symbol of the right to return. “You have the key but not the house,” she says.
Tom Gross, a Middle East expert, noted that the video omitted the expulsion of Jews from Arab countries while relying on what he called a flawed account of Palestinian history.
“Not only does Mamdani’s video fail to mention the numerically greater 850,000 Jews driven out of their homes in the Arab world; he can’t even get his narrative right regarding the so-called Palestinian Nakba,” he told The Algemeiner.
In a post shared widely on social media, Gross cited research by the historian and influencer who posts as J0sh_a to challenge Bushnaq’s portrayal as a Palestinian refugee.
“It turns out that the ‘Nakba Survivor’ who stars in Mayor Mamdani’s official NY City Hall Palestinian propaganda video yesterday, is literally a ‘European settler,’” the post said.
Bushnaq’s grandparents were Muslim Bosnians who left Bosnia for Ottoman Syria in the late 19th century after Austria-Hungary took control of Bosnia. The family later moved to Tulkarem, which came under Jordanian control after 1948, not Israeli control. Bushnaq was born in Jerusalem because of the city’s medical facilities, but her family remained based in Tulkarem, the post said.
Bushnaq’s father worked in England in the 1930s, returned to what was then known as Mandatory Palestine under British administration, and then in 1948 the family chose to go back to England.
“They were not expelled, and no one forced them to move to England. In any case, Tulkarem, and the old city of Jerusalem remained under Jordanian Arab control. No Arabs were forced to leave from Tulkarem in 1948,” Gross wrote.
“So, in summary, this is a European with no strong roots in the land of Israel, whose family made the decision to immigrate back to the continent of their grandparents instead of remaining under Arab control in what was part of Jordan after 1948.”
Critics also pointed to a poster seen on Bushnaq’s wall in the video. The “Visit Palestine” image was not Palestinian nationalist artwork, they said, but a Zionist-era tourism poster designed by Jewish artist Franz Kraus to encourage travel to the Holy Land.
“It is beyond ironic that the only person featured to represent Palestinian Arabs in his video appears to be someone from a recently arrived European settler family – from Bosnia – and not Arab at all,” he told The Algemeiner.
Gross also argued that Bushnaq’s family story pointed to a wider part of the history often left out of Palestinian nationalist accounts, saying many Arab families in the land in 1948 had arrived within a generation or two, drawn by British rule or by economic opportunities created by Jewish development. He cited surnames such as Al-Masri and Masarwa, both linked to Egypt, Fayumi, from Fayum in Egypt, Ismaili, from Ismailia, Al-Horani, from Hauran in Syria, Sidawi, from Sidon in Lebanon, and Al-Hijazi, from the Hijaz in Saudi Arabia.
Jewish groups, leaders and members of Congress slammed the post.
The UJA-Federation of New York accused Mamdani of leaving out critical context, writing on X that “the refugees you post about exist because 22 Arab states launched a war to destroy Israel,” after rejecting the UN plan that also called for a Palestinian state.
Mayor Mamdani: the refugees you post about exist because 22 Arab states launched a war to destroy Israel on May 15, 1948—rejecting the UN plan that also called for a Palestinian state. In its aftermath, 800,000 Jews were expelled from Arab lands. Your post mentions none of this. https://t.co/Fn1aY788Tc
— UJA-Federation of New York (@UJAfedNY) May 15, 2026
Referencing the translation of Nakba, US Sen. Rick Scott (R-FL) wrote on X, “The only catastrophe here is a mayor of New York who lets antisemitic mobs run wild to terrorize law-abiding Jewish New Yorkers while he spreads anti-Israel propaganda.”
“Rewriting history to portray the existence of Israel itself as the original sin is not education or remembrance. It is propaganda,” said New York Assemblymember Sam Berger. “This mayor constantly tries to market himself as an ally to the Jewish community while amplifying narratives that fuel hatred against the Jewish people.”
New York State Assembly member Simcha Eisenstein wrote, “Still wondering why hatred against Jews is so high in NYC? We have a mayor who is using government resources to disseminate a narrative and incite hostile propaganda.”
Still wondering why hatred against Jews is so high in NYC? We have a mayor who is using government resources to disseminate a narrative and incite hostile propaganda.
Mr. International Law guy forgot to include the fact that the Arab world rejected the UN’s partition plan to… https://t.co/TFgqRvqLqE
— Simcha Eichenstein (@SEichenstein) May 15, 2026
The post came the same day as anti-Zionist demonstrators gathered in Manhattan for Nakba Day rallies, with footage showing protesters carrying a Hezbollah flag, stepping on Israeli flags, shouting for Israel’s destruction, and confronting police.
The timing also contrasted with Mamdani’s own statement days earlier praising law enforcement for arresting a man accused of planning an Iran-backed attack on a New York synagogue. Mamdani had said the arrest “comes amid an alarming rise in antisemitism across the country.”
“Let me be clear: Antisemitism, violent extremism, and terrorism have no place in our city. This kind of hate is despicable,” he said.
The UJA-Federation later said it would not attend Monday night’s Jewish American Heritage Month celebration at Gracie Mansion because it was being hosted by a mayor who “denies a core pillar of our heritage — the State of Israel as the homeland of the Jewish people,” according to a statement carried by the New York Post.
Mark Treyger, CEO of the Jewish Community Relations Council, said he would also skip the event. His group organizes the Israel Day Parade at the end of the month, which Mamdani has said he will not attend, breaking with past mayoral practice.
New Yorkers “expect leadership that lowers the temperature, brings people together, and makes every community feel seen, respected, and safe, including Jewish New Yorkers,” Treyger wrote in an X post criticizing Mamdani’s Nakba Day video.
New York is home to the largest Jewish community outside of Israel. For the overwhelming majority of Jewish New Yorkers, the connection to Israel is not political or social media theater. It is ancestral, spiritual, historic, and deeply personal.
At a moment of rising… https://t.co/UbyOX52Ded
— Mark Treyger
(@MarkTreyger718) May 15, 2026
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Pakistan Sends New Iranian Peace Proposal to US
A woman walks past an anti-US billboard depicting US President Donald Trump and the Strait of Hormuz, in Tehran, Iran, May 17, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Iran sent a new peace proposal to the United States with terms that appeared similar to offers Washington has previously rejected, although a senior Iranian official told Reuters on Monday that the US had softened positions on some issues.
A Pakistani source confirmed that Islamabad, which has conveyed messages between the sides in the war in the Middle East since hosting the only round of peace talks last month, had shared the latest proposal with Washington. But the source suggested progress had been difficult.
The sides “keep changing their goalposts,” the Pakistani source said, adding: “We don’t have much time.”
Iranian Foreign Ministry spokesperson Esmaeil Baghaei confirmed that Tehran’s views had been “conveyed to the American side through Pakistan” but gave no details. Washington did not immediately comment.
The Iranian proposal, as described by the senior Iranian source, appeared similar in many respects to Iran’s previous offer, which US President Donald Trump rejected last week as “garbage.”
It would focus first on securing an end to the war, reopening the Strait of Hormuz – a major oil supply route that Iran has effectively blockaded – and lifting maritime sanctions.
Contentious issues around Iran’s nuclear program and uranium enrichment would be deferred to later rounds of talks, the source said.
However, in an apparent softening of Washington’s stance, the senior Iranian source said the United States had agreed to release a quarter of Iran’s frozen funds – totaling tens of billions of dollars – held in foreign banks. Iran wants all the assets released.
The Iranian source also said Washington had shown more flexibility in agreeing to let Iran continue some peaceful nuclear activity under supervision of the International Atomic Energy Agency.
Iran’s Tasnim news agency separately quoted an unidentified source as saying the US had agreed to waive oil sanctions on Iran while negotiations were under way.
Iranian officials did not immediately comment on Tasnim’s report, which a US official, who declined to be named, said was false.
FRAGILE CEASEFIRE
A fragile ceasefire is in place after six weeks of war that followed US-Israeli airstrikes on Iran. But talks mediated by Pakistan have stalled and Trump has said the ceasefire is “on life support.”
Washington has previously demanded Tehran dismantle its nuclear program and reopen the Strait of Hormuz, which normally carries one-fifth of the world’s seaborne oil and liquefied natural gas supply.
Iran has been demanding compensation for war damage, an end to a US blockade of Iranian ports and a halt to fighting on all fronts, including in Lebanon, where Israel is battling the Iran-backed Hezbollah terrorist group.
Trump said in a post on Truth Social at the weekend that “the Clock is Ticking” for Iran, adding that “they better get moving, FAST, or there won’t be anything left of them. TIME IS OF THE ESSENCE!”
Trump is expected to meet top national security advisers on Tuesday to discuss options for resuming military action, Axios reported.
Baghaei said Tehran was prepared for all scenarios.
“As for their threats, rest assured that we are fully aware of how to respond appropriately to even the smallest mistake from the opposing side,” he told a televised weekly press conference.

(@MarkTreyger718)