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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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Trump, on eve of new ceasefire talks: ‘Israel never talked me into the war with Iran’
(JTA) — President Donald Trump insisted that “Israel never talked me into the war with Iran” on his social network Monday, apparently seeking to tamp down a series of reports — including from members of his own administration — that the Israeli government had manipulated him into striking the Islamic Republic.
In the same post on Truth Social, Trump added that his own reaction to the Oct. 7, 2023, Hamas attack on Israel contributed to his decision: “Israel never talked me into the war with Iran, the results of Oct. 7th, added to my lifelong opinion that IRAN CAN NEVER HAVE A NUCLEAR WEAPON, did.”
Trump is facing growing backlash to the Iran war that had been launched with joint U.S.-Israeli strikes, with members of his own party joining a chorus of voices opposing it. A key point of contention is to what degree Israeli pressure played a role in the president’s decision to go to war, with the GOP’s anti-Israel wing maintaining that Trump was manipulated by Prime Minister Benjamin Netanyahu, and Secretary of State Marco Rubio initially suggesting that Israel had forced the president’s hand.
Anti-war protesters have often linked the strikes either to Trump and Netanyahu equally, or portrayed Netanyahu as Trump’s puppet master.
A recent report in The New York Times also indicated that Trump had trusted Netanyahu’s assessment that regime change in Iran would be swift, rather than dissenting views among his own generals. The war has continued for nearly two months, with Iran’s blockade of the Strait of Hormuz undercutting the world’s oil supply. The Trump administration is currently eyeing an exit ramp, with polls showing that Jewish Americans are largely opposed to the war even as they support its aims.
But in his new post, Trump continued to confidently declare that regime change in Iran was a possibility.
“Just like the results in Venezuela, which the media doesn’t like talking about, the results in Iran will be amazing,” the president wrote. “And if Iran’s new leaders (Regime Change!) are smart, Iran can have a great and prosperous future!”
Trump’s post comes days after another that appeared designed to combat the perception that he was not in full control. A day after announcing a truce in the Israel-Hezbollah fight in Lebanon, which reportedly surprised even members of Netanyahu’s cabinet, he posted, “Israel will not be bombing Lebanon any longer. They are PROHIBITED from doing so by the U.S.A. Enough is enough!!!” White House officials, responding to confusion from the Israelis, later clarified that the prohibition did not extended to strikes that are considered defensive.
The new post comes as Trump has sent competing signals about the future of the ceasefire, which is set to expire on Tuesday. Over the weekend, he both indicated that he believed the ceasefire would be extended and warned in a different post that the Iranians must comply with his demands or he would target the country’s civilian infrastructure.
“We’re offering a very fair and reasonable DEAL, and I hope they take it because, if they don’t, the United States is going to knock out every single Power Plant, and every single Bridge, in Iran,” Trump wrote. “NO MORE MR. NICE GUY!”
Iran has said it has “no plans” to attend talks meant to extend the ceasefire scheduled for Monday night in Islamabad, Pakistan. Netanyahu, meanwhile, told Israelis on Monday that he stands ready to return to war if needed.
This article originally appeared on JTA.org.
The post Trump, on eve of new ceasefire talks: ‘Israel never talked me into the war with Iran’ appeared first on The Forward.
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If Iran Won’t Deal, Trump Must Make the Cost of Refusal Unbearable
A US Navy sailor signals an F/A-18E Super Hornet on the flight deck of the Nimitz-class aircraft carrier USS Abraham Lincoln in support of the Operation Epic Fury attack on Iran at an undisclosed location, March 4, 2026. Photo: US Navy/Handout via REUTERS
The ceasefire with Iran is expiring. The talks collapsed after 21 hours in Islamabad. Iran has closed the Strait of Hormuz. Trump himself, speaking aboard Air Force One, put the choice plainly: “Maybe I won’t extend [the ceasefire]. So you have a blockade, and unfortunately, we’ll have to start dropping bombs again.”
That is the right instinct. But dropping bombs alone is not a strategy. It is a continuation of what has not worked. The question before the administration is not whether to apply pressure, but what kind of pressure actually changes Iran’s calculus. The answer requires being honest about what the war has so far failed to accomplish, and clear about what must follow.
Start with what the strikes achieved and what they did not. The United States and Israel killed Iran’s supreme leader, wiped out much of its senior military command, and damaged its nuclear facilities. These were historic accomplishments. But US intelligence assessments say Iran’s regime likely will remain in place for now, weakened but more hardline, with the Revolutionary Guard Corps (IRGC) exerting greater control. As one analyst put it: “When President Trump says he has changed the regime in Iran, he’s right in one sense: he’s changed it to a much more radicalized regime.” The war shifted who holds power in Tehran, but it did not shift what that power wants.
The IRGC, which now runs Iran more openly than at any point since 1979, looks at the nuclear question through the lens of survival. Analysts say the IRGC will be looking toward the example of North Korea, noting that the country has not been subject to attacks precisely because it possesses a nuclear deterrent. Former Supreme Leader Khamenei’s fatwa banning a nuclear bomb died with him, and for any military whose conventional deterrence has been degraded, the ultimate deterrent is now “a very attractive prospect.”
This is the central strategic reality the Trump administration must accept: Iran’s incentive to acquire a nuclear weapon has increased, not decreased, as a result of the war. Bombing alone will not change that. Only a combination of measures that makes the pursuit of the bomb more costly than abandoning it can.
The first requirement is maintaining the naval blockade unconditionally, regardless of Iranian announcements about Hormuz openings. Iran has been selectively admitting ships from China, Turkey, Pakistan, and India under bilateral arrangements while blocking others, converting the strait into a political instrument rather than surrendering the leverage it provides. A blockade that can be circumvented through side deals is not a blockade. It is theater. CENTCOM must enforce the blockade against all sanctioned traffic without exceptions, including Chinese tankers, and Trump must be prepared to make that enforcement the hill his presidency stands on, economically and diplomatically.
The second requirement is activating European snap-back sanctions immediately. Secretary of State Marco Rubio urged European countries on April 18 to quickly reimpose sanctions, warning that Iran is approaching nuclear weapons capability. This call should not have been made publicly as a request. It should have been delivered as a condition. Washington has leverage over European access to American markets and defense cooperation that it has consistently refused to use in Iran policy. That reluctance must end. A European sanctions regime that closes off the money that the blockade does not reach, will give Iran no economic off-ramp that does not run through US terms.
The third requirement is the most uncomfortable to name. The Iranian people have already done the work the administration hoped bombing would do. Surveys conducted inside Iran show that Iranians believe protests, foreign pressure, and intervention are more likely to bring about political change than elections and reforms. The regime is militarily weakened, culturally weakened, and economically weakened, with a plummeting currency. Protests that began in December 2025 over economic conditions grew into nationwide demonstrations in all 31 provinces, with hundreds of thousands participating and calls shifting from economic grievances to the overthrow of the Islamic Republic itself. This is the most significant popular uprising Iran has seen since 1979, and it is happening right now, under the weight of the war and the blockade.
Trump called on the Iranian people to take their government at the outset of the war. He should not abandon that call as a diplomatic inconvenience. Materially supporting the opposition, providing Internet access to circumvent the regime’s blackout, and making unambiguous public commitments to the protesters that American pressure will not cease while the IRGC shoots demonstrators in the street are actions within the administration’s power. They cost nothing militarily and they impose a political cost on the regime that no bomb can replicate.
A deal that leaves Iran with a five-year enrichment window and underground missile cities under reconstruction is not a deal. It is a countdown. Trump knows what the alternative looks like. He should pursue it.
Amine Ayoub, a fellow at the Middle East Forum, is a policy analyst and writer based in Morocco. Follow him on X: @amineayoubx
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Podcast Hosts and Others Must Continue to Call Out Tucker Carlson for His Hatred
Tucker Carlson speaks on July 18, 2024, during the final day of the Republican National Convention at the Fiserv Forum in Milwaukee, Wisconsin. Photo: Jasper Colt-USA TODAY via Reuters Connect
Patrick Bet-David, host of the PBD podcast, made an open video to Tucker Carlson in which he offered to have accountants check Bet-David’s finances as well as his wife’s, to see if Israel has given him money. At the same time, the accountants would look into Carlson and his wife to see if Qatar or other countries have given Carlson money.
Though Carlson will certainly not agree to it, it is a good step to put pressure on Carlson. Carlson’s goal is to turn Christians against Israel — and right now, against Trump. It’s not by chance that he falsely claimed Israeli President Isaac Herzog was on Epstein island. There’s no evidence of it, and Carlson made it up out of his desire to vilify Israel.
Bet-David did an interview with Netanyahu, and didn’t call him a genocider — which was tough for Carlson to handle. Carlson absurdly thought Netanyahu would sit for an interview with him. It will never happen because Carlson, whether motivated by money, revenge, or something we don’t know, has been on the warpath against Israel and Jews, obsessively speaking about these two topics. In addition, he is suddenly buddies with those on the far-left who also hate Israel. Known as the horseshoe effect, those on the far-right and far-left can disagree on everything under the sun, but unite in their hatred of Jews.
Carlson is charismatic and has great delivery, though I’m not sure why his absurd laugh hasn’t thrown people off. In this attention economy, it’s about starting conversations. Bet-David smartly put it out there for Carlson to show transparency, which he will not do. What makes this interesting is that when Carlson was first ousted from Fox News, Bet-David made it publicly known that he was offering Carlson a huge amount of money to work for him. This was before Carlson became anti-Israel.
Bet-David was born in Iran, and fled the country to come to America. Bet-David was also right to question why Carlson was downplaying the harms of Sharia law, and focusing on what Carlson thought were its benefits.
My hope is that this leads to Carlson coming on Bet-David’s show. I doubt he will, although there is a small chance because he may think Bet-David is not as intellectual as Douglas Murray or Ben Shapiro. While that’s true, Bet-David is charismatic, can make good points at times, and his experience seeing the evils of Iran firsthand would make for an interesting conversation with Carlson.
It is hard to understand why people believe the things that Carlson and Candace Owens say, though their personalities can be entertaining, and someone unaware of facts perhaps might think they were correct.
Irrespective of the outcome of the Iran war, Carlson is ready with the narrative that it is a disaster. He said that millions could die if America attacked Iran’s nuclear facilities before Trump took action last June. Of course, that didn’t happen. Being wrong has no consequences in Carlson’s mind; it’s about ratcheting up hatred of Israel and positioning it as an enemy of America. At times, it seems Carlson is the one standing against America. As Bet-David pointed out, Carlson said that Sharia law was leading the Muslim world to thrive, while it was declining under America. Carlson also had everyone believing that he was a big fan of President Donald Trump, until text messages revealed he hated him.
While I have my criticisms of Bet-David for not asking tougher questions to idiotic and Jew-hating guests, he deserves credit for calling out Carlson and outing him under the microscope. Because when that is done, what we find is quite ugly. Carlson, through charisma and absurdity, is trying to mainstream the idea that Israel is the enemy of America. He is hoping to reel people in on the lie that Israel bullied America into the war. That’s not the case — and everyone who knows that must continually question Tucker on it.
The author is a writer based in New York.