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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.


The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.

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He was Zohran Mamdani’s Jewish wingman. What’s next for Brad Lander?

(JTA) — When Brad Lander and Zohran Mamdani were jointly honored at a left-wing Jewish event in September, the two politicians’ alliance was at the center of the evening.

Lander, who had cross-endorsed Mamdani in the Democratic primary months earlier, said he was “proud to be a Jew for Zohran” during his speech at the Mazals gala, hosted by Jews for Racial and Economic Justice. The pair hugged onstage as comedian Ilana Glazer introduced them. The mood was celebratory, albeit sprinkled with cautious reminders that there was still a general election to win.

Nearly two months later, Mamdani fulfilled expectations with an election win. Lander would attend his election night rally, celebrating Andrew Cuomo’s loss with a T-shirt that read “Good f—ing riddance.”

But his future in the city’s new order was uncertain. After Lander reportedly angled for a top position in Mamdani’s City Hall, Mamdani filled out his leadership team with others, leaving Lander in the cold when his tenure as comptroller ends next month. Now, he appears to be considering a run for Congress in his district, setting up a potential rare instance of a Jewish progressive challenging a Jewish centrist.

“I won’t be making any news tonight,” Lander warned with a smile at an event Wednesday night for Standing Together, an Israel-Palestinian peace-building organization. Supporters greeted him after the event, many saying they’d be happy to canvass and vote for him should he run for Congress.

“There are many ways to serve, and I will have more to say about the ones that I am looking forward to in the future,” Lander said in an interview after the event.

Lander told Crain’s New York Business last week that he is “very seriously considering” challenging Rep. Dan Goldman in New York’s 10th Congressional District in next year’s midterm Democratic primary. A poll taken last month suggests that he would stand a strong chance.

Israel would likely weigh heavily in a Lander-Goldman matchup. Lander is a self-described liberal Zionist whose criticism of Israel has intensified since his alliance with Mamdani, a longtime anti-Zionist. Goldman is a moderate who did not endorse in the general election for mayor, saying he was “very concerned about some of the rhetoric coming from Zohran Mamdani,” and that he wanted to see Mamdani condemn “violence in the name of anti-Israel, anti-Zionism.”

The New York Times reported on Friday that Mamdani had urged Lander to challenge Goldman — in the same conversation where he told Lander he wouldn’t be hiring him at City Hall.

The 10th Congressional District covers Lower Manhattan, as well as parts of western and central Brooklyn, where Lander was a three-term City Council member. While Lower Manhattan was more split in the general election, most of the district’s Brooklyn neighborhoods voted overwhelmingly for Mamdani. The district also includes part of Borough Park, a neighborhood with a large Orthodox Jewish population that strongly supported the centrist mayoral candidate, Andrew Cuomo.

There has been an appetite in progressive circles for Goldman to be replaced in 2026 by a candidate more aligned with their politics. “Dump Dan” flyers were handed out to people lining up for Wednesday’s event with Lander, held in a Brooklyn Heights church that falls within the district.

“I would love to see Brad in Congress,” said Arlene Geiger, founder and coordinator of the Upper West Side Action Group, which endorsed Lander in the Democratic mayoral primary.

“I think he’s progressive and Dan Goldman is very tied to AIPAC,” she continued, referring to the Israel lobby that is seen as increasingly toxic by Democrats. “I don’t like his position on the Middle East at all. He’s more of a centrist.”

Geiger’s group is based outside the district, but she said in an interview that it “would be happy to be working” on Lander’s campaign to challenge Goldman.

A September poll by Data for Progress surveyed voters in the 10th congressional district; in a two-man race between Goldman and Lander, the poll found that Lander would win 52-33.

But Democratic strategist Trip Yang advised pumping the brakes, pointing out that polls taken so far in advance of an election “don’t matter as much” and that incumbents bring an advantage. Plus, he noted, City Council member Alexa Aviles, who’s reported to have interest in the seat, could pose an obstacle for Lander.

“In a lot of ways, Alexa Aviles has a higher ceiling as a congressional candidate than Brad Lander,” Yang said, pointing out that 20% of the district is Latino, and that she would likely have the Democratic Socialists of America’s endorsement, giving her more of “the Zohran imprint.”

At first, the DSA privately committed not to endorse any of Lander’s hypothetical opponents, but — after Lander held out while awaiting a potential job under Mamdani — has since voted to back Aviles, a longtime member, the New York Times reported on Friday, adding that multiple sources said Mamdani has said he would back Lander. Maneuvering is reportedly underway within the left-wing group, which counts the mayor-elect as its most prominent member, to avert the progressive split that delivered the seat for Goldman in 2022.

While already a known quantity as the city’s top financial officer, Lander gained “the Zohran imprint” himself by closely associating with the mayoral frontrunner since June. Lander also gained recognition over his recent protests against ICE, for which he was arrested by federal agents at an immigration court.

After finishing third in the ranked-choice primary, Lander actively stumped for Mamdani throughout the general election campaign to help defeat Cuomo a second time.

“I was proud to do that — I have been proud all the way through the general election campaign to campaign with him, side by side,” Lander said this week. He added that he would “continue to work in close partnership” with Mamdani to achieve his campaign goals.

Throughout the election, Lander worked to ease concerns from many Jewish New Yorkers about Mamdani’s position on Israel, including his support for the Boycott, Divestment and Sanctions movement. Lander sought to reinforce Mamdani’s commitment to the safety of Jewish New Yorkers, and showcased the democratic socialist’s engagement with Jewish communities.

He brought Mamdani to the progressive synagogue Kolot Chayeinu, where Lander is a member, for Rosh Hashanah services, and accompanied Mamdani for Kol Nidre services at another progressive congregation.

He spoke highly of Mamdani at the Mazals. “Having an immigrant Muslim mayor with a genuinely inclusive vision — and that brilliant smile — it offers us a chance for us to strengthen what is, for so many of us, so deeply Jewish about this city,” Lander said. “And that’s why I’m proud to be a Jew for Zohran.”

Critics said Lander’s efforts merely “kosherized” antisemitism at a time when fierce reaction to the war in Gaza led to Jews feeling unsafe and isolated, and anti-Jewish attacks rose.

“Lander is part of a larger story of the collapse of New York’s Jewish-political establishment, which has forced Jews to seek representation in non-Jewish politicians who inevitably get told to mind their business when they criticize anti-Semitism,” the conservative pundit Seth Mandel wrote in Commentary in June. “Lander has played an important role in this collapse by being a sherpa of sorts for rising Jew-baiters.”

And as the election wore on, Lander seemingly moved closer toward Mamdani’s positions; he began using the term “genocide” to describe Israel’s military campaign in Gaza — a term he had previously refrained from using — during a Yom Kippur service in October.

Lander credited that shift in terminology to conversations he had with his daughter, who had read Raphael Lemkin — the Holocaust survivor who coined the term “genocide” — in a college class.

“She had read a lot of Lemkin and she brought it forward to me, and pushed me pretty hard,” he said. “And we had a lot of conversation, debate back and forth — we’re not so different from many other families full of liberal Zionist parents and further left kids.”

He added, “You can continue to be a liberal Zionist who believes in the vision of Israel as a Jewish and democratic state, and be honest about what Israel has been doing to Palestinians in Gaza, and the West Bank as well.”

In his efforts to warm Jewish voters to the idea of voting for Mamdani, Lander spoke to groups like the Upper West Side Action Group — which had endorsed him in the primary — and took questions about Mamdani from an audience that was mostly Jewish.

Geiger, the group’s coordinator, said Lander’s endorsement helped grow Mamdani’s support among their voters who were unsure because of the candidate’s stance on Israel, as well as the 34-year-old Assembly member’s lack of executive experience.

“There were those, I think, who were swayed by Brad’s endorsement because they like Brad, and knew him,” said Geiger, who is Jewish.

Yang said he believed that Lander’s advocacy boosted Mamdani’s appeal. “I don’t know if Zohran has this big of a winning margin without Brad Lander,” he said. “You have to give Brad credit for this.”

The post He was Zohran Mamdani’s Jewish wingman. What’s next for Brad Lander? appeared first on The Forward.

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Is dining-hall matzah ‘DEI’? The answer isn’t clear to UVA’s pushed-out ex-president.

(JTA) — Months after being forced out as president of the University of Virginia, Jim Ryan is still pondering Passover food.

More specifically, Ryan, who was pushed out of the role over the summer amid mounting GOP pressure on the public university, cited the topic as an example of why he was confused about the “DEI ban” imposed earlier this year by the public school’s board. The ban had been drafted by the office of the state’s Republican governor.

“It’s not clear even today what it means to kill DEI,” Ryan wrote in a letter Friday to the UVA faculty senate telling his side of the story. 

He went on: “For example, did it mean that we could no longer try to recruit qualified first-generation students from rural parts of Virginia, or offer financial aid, or even serve matzah in the dining halls during Passover, because each of those efforts would be advancing diversity, equity, and/or inclusion?”

The candid look behind the curtain was a reflection of broader struggles on campuses to satisfy conservative demands on both antisemitism and DEI. As the Trump administration has taken up the mantle of campus antisemitism after the Oct. 7 attacks, it has strong-armed universities to make substantial changes in order to preserve their federal funding — not just to its dealings with Jewish students, but also to other conservative hobbyhorses like DEI initiatives. 

The first public university to strike a deal with Trump to end an antisemitism investigation, UVA was also quick to fall in behind a “DEI ban.” The school is now becoming a flashpoint as Glenn Youngkin, the outgoing Republican governor who pushed the DEI ban, and Democratic Gov.-elect Abigail Spanberger, elected as part of a broader “blue wave” opposing Trump, are warring over who gets to appoint Ryan’s replacement

Ryan, who remains an emeritus professor at the school, wrote that he felt compelled to revisit his resignation because Youngkin’s assertions about the state of affairs at UVA needed to be corrected.

“I think it is time to set the record straight, which will hopefully enable UVA to make all necessary changes in order to end this chapter and begin a fresh, new chapter in the history of a remarkable university,” Ryan wrote.

The DEI ban was only part of UVA’s turmoil this summer. A subsequent Justice Department investigation into the school’s student admissions and hiring practices, Ryan wrote, soon expanded without warning into an antisemitism investigation.

“We assembled voluminous information related to admissions for one or more of our twelve schools, and a few days before the deadline for submission, we would receive another DOJ inquiry asking about another school,” he wrote. “They also sent a letter asking about antisemitism and one alleged incident of antisemitism in particular. Each time the scope of the DOJ inquiry expanded, our lawyers asked for and received extensions for submission of material.”

Ryan did not elaborate on the specifics of the “one alleged incident of antisemitism” in his letter but said that investigators’ interest in antisemitism seemed to be “part of a pattern” of the DOJ throwing more and more allegations against the school. He also speculated that the investigators were simply using such allegations as a leverage tactic against the school.

“It is impossible for me to know, but the timing of the DOJ letters, the ever expanding scope of their inquiries, and their willingness to give us extension after extension made me wonder more than once if the DOJ was not actually interested in our response,” he wrote. He came to conclude that the government wouldn’t drop its investigations, including on antisemitism, unless he stepped down.

Ryan did so this June, after which UVA reached a settlement with the government to drop its antisemitism investigation and others. Unlike other university deals with Trump, this one did not require UVA to pay a fine. Instead, the school agreed to abide by Justice Department guidelines on other issues not related to antisemitism, including the school’s existing general ban on DEI.

As for matzah in the dining hall, no school has yet been criticized as excessively inclusive for offering kosher food. In fact, several universities facing allegations of antisemitism tied to their handling of anti-Israel protests have expanded their kosher dining-hall offerings as part of their overtures to Jewish students.

The post Is dining-hall matzah ‘DEI’? The answer isn’t clear to UVA’s pushed-out ex-president. appeared first on The Forward.

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Following uproar, IDF cantor to perform at Amsterdam Hanukkah concert after all — but not for everyone

(JTA) — The IDF’s chief cantor will be allowed to perform for Hanukkah in Amsterdam’s Royal Concert Hall — but not for everyone — after tensions over Israel ripped through one of the city’s most popular Jewish celebrations.

The Royal Concert Hall, or Concertgebouw, last week canceled the performance to be hosted by the Chanukah Concert Foundation because it featured Shai Abramson, the “representative cantor of the State of Israel” and chief cantor of the Israeli army. The organization said it based this decision on “the IDF’s active involvement in a controversial war” and “Abramson’s visible representation of that institution.”

The Chanukah Concert Foundation responded by threatening a lawsuit over “restriction of religious freedom.” The conflict spread to protests, rifts in the Jewish community and a war of words between the Israeli government and the mayor of Amsterdam. But on Wednesday, the Concertgebouw and the Jewish foundation announced a compromise.

They settled on separate concerts on Dec. 14, the eve of Hanukkah. During the afternoon, the Concertgebouw will host a public, family-focused concert without Abramson. In the evening, as sundown falls and the first Hanukkah candle is lit, Abramson will sing at two private concerts in the same hall for guests who already bought tickets to see him.

“Over the past week, we have seen the situation escalate into tension. We agree that this damaging trend must stop,” the organizations said in a joint statement. They added that proceeds from Abramson’s concerts would be donated to “a charity that promotes social cohesion in the city.”

Across the Netherlands, residents have grown increasingly critical of Israel and its two-year campaign in Gaza. A survey in September found that 58% of Dutch people wanted their government to take tougher actions against Israel, including boycotts, statements that Israel is committing genocide and recognition of a Palestinian state.

Abramson’s cancellation prompted an outcry among some prominent Dutch Jews and Jewish organizations.

Former lawyer Oscar Hammerstein called for a boycott of the Concertgebouw in the newspaper De Telegraaf. Leon de Winter, Jewish Dutch novelist and columnist for the paper, wrote that “Joseph Goebbels would happily give the Concertgebouw management a pat on the back.”

Dozens of people have protested outside the Concertgebouw in recent days. They were supported by the Center for Information and Documentation on Israel, a Dutch group that advocates for Israel and Jews.

David Serphos, a board member and spokesperson of the Chanukah Concert Foundation, said the cancellation “caused a lot of pain” among many Dutch Jews who see the Concertgebouw as a special place. The building first hosted a Hanukkah concert in December 1914, according to Barry Mehler, the head of a separate Hanukkah concert for the Jewish Music Concerts Foundation. The tradition was interrupted by World War II and revived only in 2015.

“It’s situated in a part of the city where a lot of Jews live,” Serphos said in an interview. “A lot of Jews go to the Concertgebouw either weekly or monthly. They are regular guests.”

An anti-Zionist Dutch Jewish group is planning to protest outside the Concertgebouw on Dec. 14, the day of the Hanukkah concerts, when they will also light a menorah. The group, Erev Rav, an anti-Zionist Jewish group, garnered over 2,200 signatures on a petition backing the Concertgebouw’s cancellation decision and said it was “deeply disappointed” by the compromise with the Chanukah Concert Foundation.

“The Concertgebouw’s initial refusal to provide a stage to a representative of a military perpetrating mass atrocities was a principled position grounded in an understanding of the way Zionist propaganda, including through the arts, sustains a genocidal regime,” Erev Rav said on Instagram, where it also accused the “Dutch Zionist lobby” of conflating anti-Zionism with antisemitism.

The Israeli government exerted its own pressure on the Concergebouw. Diaspora Minister Amichai Chikli said in a letter to Amsterdam Mayor Femke Halsema on Nov. 4 that Abramson’s cancellation was “an act of moral cowardice and discrimination.”

Referencing the Holocaust history of the Netherlands, where 75% of Dutch Jews were killed, Chikli said, “Once again, Jews are being told that their identity, their art, and their connection to Israel make them unwelcome.”

Halsema lashed back in her own letter. Acknowledging “the fear and pain felt within Amsterdam’s Jewish community,” she said that she “strongly and unequivocally” rejected Chikli’s suggestion of antisemitism by the Concertgebouw.

“I find the comparison with the persecution and extermination of Jews during the Second World War beyond despicable,” said Halsema. “That history demands accuracy and integrity, not instrumentalization.” She also rebuked “any attempt to pressure or intimidate” local leadership and said that Amsterdam “will not be governed by foreign institutions, nor driven by external political agendas.”

Serphos said the Chanukah Concert Foundation was satisfied with their compromise and hoped to move on from the conflict.

“We want to continue working with the Concertgebouw,” he said. “We want to look ahead and not look back, and we’re happy that we managed to find common ground.”

The post Following uproar, IDF cantor to perform at Amsterdam Hanukkah concert after all — but not for everyone appeared first on The Forward.

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