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For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness
(JTA) — Jewish stories have had top billing on Broadway this season — and Jewish audiences have been flocking to the theater.
Audiences have lined up to see Tom Stoppard’s “Leopoldstadt,” the multigenerational saga of a Jewish family in Vienna, and the devastating consequences of the Holocaust upon its ranks. They have packed the house for “Parade,” a musical retelling of the infamous antisemitic show trial and subsequent lynching of Leo Frank in Marietta, Georgia, in 1915. And just off Broadway, “The Wanderers” (which closed April 2) invited us into the slowly disintegrating marriage of two secular Jews born to mothers who dramatically left the Satmar sect of ultra-Orthodox Judaism, a show replete with intergenerational trauma and a pervasive sense of ennui.
None of these shows offers a particularly lighthearted evening at the theater. So why have they proven so popular? Critics have penned countless reviews of the three plays, analyzing the quality of the productions, the scripts, scores, performances of principal actors, set and design. But for our new book exploring what audiences learn about Judaism from Jewish cultural arts, my colleague Sharon Avni and I have been interviewing audience members after seeing “Leopoldstadt,” “Parade” and “The Wanderers.” We are interested in turning the spotlight away from the stage and onto the seats: What do audiences make of all this? What do they learn?
Take “Leopoldstadt,” for example, a drama so full of characters that when it left London for its Broadway run the production team added a family tree to the Playbill so that theatergoers could follow along. “Leopoldstadt” offers its audience a whistle-stop introduction to modern European Jewish history. In somewhat pedantic fashion, the family debates issues of the day that include Zionism, art, philosophy, intermarriage and, in a searing final scene, the memory of the Holocaust.
For some of the theatergoers that we interviewed, “Leopoldstadt” was powerful precisely because it packed so much Jewish history into its two-hour run time. It offered a basic literacy course in European Judaism, one they thought everyone needed to learn. Others, however, thought that this primer of Jewish history was really written for novice audiences — perhaps non-Jews, or assimilated Jews with half-remembered Jewish heritage, like Stoppard himself. “I don’t know who this play is for,” one interviewee told us. “But it’s not me. I know all this already.”
Brandon Uranowitz, left, who plays a Holocaust survivor, confronts Arty Froushan as a young writer discovering his Jewish roots, in the Broadway production of Tom Stoppard’s “Leopoldstadt.” (Joan Marcus)
Other interviewees thought the power of “Leopoldstadt” lay not in its history lessons, but in its ability to use the past to illuminate contemporary realities. I spoke at length with a woman who had been struggling with antisemitism at work. Some of her colleagues had been sharing social media posts filled with lazy caricatures of Jews as avaricious capitalists. Upon seeing “Leopoldstadt,” she realized that these vile messages mirrored Nazi rhetoric in the 1930s, convincing her that antisemitism in contemporary America had reached just as dangerous a threshold as beheld European Jews on the eve of the Shoah.
We heard similar sentiments about the prescience of history to alert us to the specter of antisemitism today from audiences who saw “Parade.” Recalling a scene where the cast members wave Confederate flags during the titular parade celebrating Confederate Memorial Day, Jewish audiences recalled feeling especially attuned to Jewish precarity when the theater burst into applause at the end of the musical number. “Why were we clapping Confederate flags?” one of our interviewees said. “I’ve lived in the South, and as a Jew I know that when you see Confederate flags it is not a safe space for us.”
“Parade” dramatizes the popular frenzy that surrounded the trial of Leo Frank, a Yankee as well as a Jew, who was scapegoated for the murder of a young Southern girl. Jewish audience members that we interviewed told us that the play powerfully illustrated how crowds could be manipulated into demonizing minorities, comparing the situation in early 20th century Marietta to the alt-right of today, and the rise of antisemitism in contemporary America.
What we ultimately discovered, however, was that audience perceptions of the Jewish themes and characters in these productions were as varied as audiences themselves. Inevitably, they tell us more about the individual than the performance. Yet the fact that American Jews have flocked to these three shows — a secular pilgrimage of sorts — also illustrates the power and the peril of public Jewish storytelling. For audience members at “Leopoldstadt” and “Parade,” especially, attending these performances was not merely an entertaining evening at the theater. It was a form of witnessing. There was very little to be surprised by in these plays, after all. The inevitable happens: The Holocaust destroys Jewish life in Europe, Leo Frank is convicted and lynched. Jewish audiences know to expect this. They know there will be no happy ending. In the secular cultural equivalent to saying Kaddish for the dead, Jewish audiences perform their respect to Jewish memory by showing up, and by paying hundreds of dollars for the good seats.
The peril of these performances, however, is that audiences learn little about antisemitism in reality. The victims of the Nazis and the Southern Jews of Marietta would tell us that they could never have predicted what was to happen. Yet in “Parade” and “Leopoldstadt” audiences are asked to grapple with the naivete of characters who believe that everything will be all right, even as audiences themselves know that it will not. By learning Jewish history on Broadway, audiences are paradoxically able to distance themselves from it, simply by knowing too much.
In the final scene of “Leopoldstadt,” Leo, the character loosely based on Stoppard himself, is berated by a long-lost relative for his ignorance of his family’s story. “You live as if without history,” the relative tells Leo. “As if you throw no shadow behind you.” Audiences, at that moment, are invited to pat themselves on the back for coming to see the show, and for choosing to acknowledge the shadows of their own Jewish histories. The cold hard reality, however, is that a shadow can only ever be a fuzzy outline of the truth.
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Guinness World Records Starts Accepting Israeli Submissions Again Following Legal Pressure
People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad
Guinness World Records (GWR) is once again accepting submissions from Israel and the Palestinian territories, following pressure from an association of British lawyers that claimed the policy was discriminatory and threatened the validity of Guiness’s registered trademarks.
GWR confirmed to UK Lawyers for Israel (UKLFI) via email that it ended its temporary pause on submissions from Israel and the Palestinian territories that was implemented in November 2023, shortly after the start of the war in the Gaza Strip following the Hamas-led Oct. 7 terrorist attack across southern Israel.
The exclusionary policy drew widespread condemnation in early December after Guinness World Records refused to accept a submission from the Israeli NGO Matnat Chaim, which was hoping to set a world record with an event in Jerusalem where 2,000 Israeli kidney donors will gather in one place.
GWR told Matnat Chaim at the time it was “not generally processing” record applications from Israel or the Palestinian territories “with the exception of those done in cooperation with a UN humanitarian aid relief agency.” Guinness denied claims that its policy against submissions from Israel or the Palestinian territories unlawfully excluded and discriminated against Israelis and Palestinians because the policy was based on location, not nationality or ethnicity.
In late December, UKLFI wrote to Guinness and warned that the company could face legal risks because of the policy and that it amounted to indirect discrimination. UKLFI noted that marketing publications under the title “Guinness World Records” while excluding records from in Israel or the Palestinian territories could be considered unfair commercial practice under consumer protection law. The policy could also risk the validity of Guinness’s registered trademarks, according to UKLFI.
Starting Jan. 15, GWR resumed its “routine acceptance” of applications, it told UKLFI in an email shared with The Algemeiner.
“We have continued to monitor the situation in the region carefully, reviewing the policy monthly,” GWR wrote. “The recent ceasefire and the return to a more stable environment have been key factors in these reviews. With these factors in mind … we recommenced our routine acceptance of applications for world records from Israel and the Palestinian Territories, including the application made by the Matnam Chaim charity.”
The company added that the decision to resume processing applications from the region was not an admission that its temporary pause had been unlawful or that its trademarks had been used improperly. Guinness also shared that several records set in Israel had in fact been recognized during the temporary pause. They included records for the fastest robot to solve a rotating puzzle clock, most backward somersault burpees in 30 seconds done by a male, oldest female person to perform a headstand, most sequences completed in a game of “Simon,” and tallest drag performer.
“Guinness World Records’ decision to resume accepting submissions from Israel and the Palestinian territories is welcome,” said UKLFI chief executive Jonathan Turner. “Excluding particular countries carries serious legal and commercial risks. Global organizations cannot present themselves as neutral and inclusive while applying exceptional policies to certain countries, particularly where this misleads consumers and disadvantages entire populations.”
Israeli Foreign Minister Gideon Sa’ar also commented on GWR’s change in policy, celebrating that the massive gathering of kidney donors in Jerusalem will be recognized.
“Two thousand Israeli kidney donors are making the largest donation ever, in a selfless act of solidarity and humanity,” Sa’ar posted on the social media platform X on Monday. “Good to see it finally receive the celebration it deserves by the Guinness World Records, which revoked their original distorted decision to deny Israeli kidney donors their rightful recognition.”
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California Theater Apologizes for Canceling Show by Israeli Comedian After He Refuses to Condemn Home Country
Illustrative: Bondi shooting survivor Chaya Dadon, 14, holds a pendant, in the shape of Israel, and a partial Star of David engraved on it, that she bought a few hours before the shooting in Sydney, Australia, Dec. 19, 2025. Photo: Reuters/Cordelia Hsu
The Fine Arts Theater in Beverly Hills, California apologized for canceling a show by Israeli stand-up comedian Guy Hochman after he declined the venue’s demand to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
In a statement posted on Instagram and on the theater’s website over the weekend, Michael S. Hall, president of the Screening Services Group, acknowledged that canceling Hochman’s scheduled appearance on Tuesday at the Fine Arts Theater was poorly handled. He said the venue, which will host screenings as part of the 37th Israel Film Festival in February, has contacted Hochman’s representatives and is open to rescheduling his performance if “it can be done safely.”
The relationship between the theater and the Screening Services Group was not immediately clear.
Hall also admitted that the decision to cancel the show was made after he and the theater received several messages from the public, including threats of violence, related to Hochman’s performance.
“I want to apologize, especially to the Jewish community, for my statement and for how this situation was handled,” Hall wrote. “I understand that my decision caused harm and distress to many people in the community, and I take responsibility for that … I made the decision to cancel the show without giving the matter the careful thought and judgement it required. That was my mistake.”
He also acknowledged it was wrong to ask a performer “to make political or ideological statements as a condition of appearing” and that “imposing a litmus test of any kind was a mistake and should never have happened.”
“The Fine Arts Theater has supported and will continue to support Jewish and Israeli projects, artists, and community events,” Hall added. “I am committed to ensuring the theater remains a place for culture and expression without discrimination. I am already engaging with members of the local Jewish community and will continue to listen, learn, and work with community leaders moving forward.”
Hall’s apology follows a public statement from the venue that said Hochman was banned from the theater after he declined to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
The statement also acknowledged that the venue could not corroborate accusations made against the comedian but still asked him to issue a public statement against Israel. Hochman talked about the venue’s demands in an Instagram video and said he will never condemn his home country.
The former Israel Defense Forces (IDF) soldier further told The Hollywood Reporter he does not accept Hall’s apology and refuses to return to the venue.
“Do I think he’s sincere? No. He’s doing it because he was pressured,” Hochman said of Hall. “He doesn’t care. He tested me, like a loyalty test. For me, my people come before my career. I don’t care about money. I will never say lies about my people. I will never say things like rape, starvation, or genocide. That is not the story, and I don’t believe it … Jewish pride comes before everything.”
Actress and comedian Amy Schumer came to Hochman’s defense on Sunday. In an Instagram story, she wrote that the venue’s demand for Hochman to publicly condemn his country was “straight up wrong.”
“They canceled his show, admitted there’s zero evidence, and only backpedaled after the backlash. No artist should sign a forced apology note just to perform,” Schumer wrote. “Last I checked, we don’t run like those dictatorship-run spots, demanding stars trash America before letting them on stage.” Hochman shared Schumer’s statement on his Instagram story.
Photo: Screenshot
Hochman’s stand-up comedy tour has faced protests in several cities, and his scheduled show in New York City last week was canceled over safety concerns. He was also detained for several hours by Canadian border officials earlier this month after the pro-Palestinian advocacy group Hind Rajab Foundation filed a legal complaint against him, accusing the comedian of war crimes and “incitement to genocide.” The comedian was released and not charged, but his Canadian visa was revoked. His scheduled performance in Dallas, Texas, this week was canceled because of a winter storm in the region.
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As with Cain and Abel, the blood of our brother Alex Pretti is crying out from the ground
We don’t have to quote Pastor Niemoller anymore.
Because Alex Pretti could have been any of us. He could’ve been me, you, your neighbor, or your rabbi. In fact, many of my rabbinic colleagues and friends are on the streets of Minneapolis at this very moment. They are brave, patriotic and principled, and having known some of them for many years, I know that they, like Pretti, would protect the most vulnerable, even at unfathomable cost.
And what was Pretti doing? He was protesting peacefully, recording ICE agents with his iPhone. He tried to protect a woman the agents were attacking. He never drew the gun that he legally carried in its holster. He was beaten, and once on the ground, he was shot 10 times. His last words were “Are you OK?”
No longer are “they” coming only for ‘illegal’ immigrants, legal immigrants arriving at their court dates, permanent residents, Latinos, Asians, Somalians, veterans, and Black off-duty police officers.
“They” are now coming for us.
And they hate us. They lie about us, calling us assassins and terrorists. Their rage is palpable, and egged on by right-wing podcasts and right-wing media. We hate America, we are rioters, we are terrorists, we are Antifa. “Have you not learned? This is why we killed that lesbian bitch,” an ICE agent said to a protester two weeks ago, referring to Renee Good.
Even after Pretti’s murder, the Fox News headline was “Minnesota ICE official warns of unrest ‘like nothing I’ve ever seen before.’”
Other than the murder itself, the lies have been the most disturbing part of this spectacle; the immediate rush to lie about and vilify Alex Pretti, a VA nurse described by everyone who knew him as kind, caring, altruistic, and just the sort of person who would put himself in harm’s way to protect a stranger.
Stephen Miller called him a “would-be assassin” and a “terrorist.”
Commander Gregory Bovino (who parades around in a military ‘greatcoat’ that is popular among neo-Nazis online) said that Pretti planned to “massacre law enforcement” and had “violently resisted” before his men killed him, despite the video evidence flatly contradicting the latter claim.
DHS Secretary Kristi Noem said “this looks like a situation where an individual arrived at the scene to inflict maximum damage on individuals and to kill law enforcement.” Yet Pretti had his iPhone out to record what the ICE officers were doing.
There are two reasons these lies are the second-worst part of this episode.
First, it is morally repellent to drag Pretti and his family through the mud — and, if Renee Good’s family is any example, expose them to doxxing, death threats and defamation. Just imagine what they will say about me if they kill me at a protest. Or you. Or your rabbi.
Second, this isn’t one ICE agent. This is an entire apparatus of dehumanization and deceit. And though polling says only 20% of Americans believe that Pretti deserved to be shot, large swaths of America believe this extremist propaganda. We all have targets on our backs, painted by the government and their media apparatus.
There is a teaching in the Torah about this. It is, in fact, the first teaching in the Torah about the violence people do to one another: the story of Cain and Abel.
You know the myth, in all its brevity and primal truth. Cain and Abel are brothers. Both have offered sacrifices to God, though the text suggests Abel gives of his best while Cain does not. And so, Abel’s sacrifice is accepted and Cain’s is not. Vayichar l’kayin me’od; Cain is infuriated, filled with rage. God speaks reprovingly to Cain, telling him in essence that he has gotten what he deserved, that he must curb his desires more. But Cain does not accept this lesson and kills his brother in jealousy and rage.
As we all know, God asks Cain where Abel is — though of course, God already knows. Cain replies “I don’t know. Am I my brother’s keeper?”
But God responds, “What have you done? The voice of your brother’s blood cries out to me from the ground.”
Read closely and see. Cain is lying, of course; he knows exactly what he has done. He also denies responsibility; it’s not his job, he says, to take care of Abel. Ha-shomer achi anochi, he asks. Literally, am I my brother’s guard? His protector? Am I supposed to keep him safe?
Cain’s lies are like those of Miller, Bovino, Noem, and the rest. They are transparently preposterous. We are not God, but we can all watch the videotape; we can all inspect the freeze-frames of Pretti lying on the ground being beaten and then being shot.
And we can all easily learn that Pretti, like Abel, was innocent. He was not violently resisting, he posed no threat to these officers. He was no more a “terrorist” than I am — indeed, the word ‘terrorist’ has now become just a slur, drained of actual meaning, as if a non-violent activist is no different from the Bondi Beach terrorist or the Tree of Life terrorist. What a disgusting side-note, that the government has rendered this word meaningless.
Pretti’s blood cries out from the ground. And it is louder than the lies of the murderers.
One final epilogue. There is a midrash (Genesis Rabba 22:9) that blames God for Abel’s murder, because God could have prevented it but chose not to do so. When God says that Abel’s blood is crying out, the midrash says, it is crying out at God.
This is a bold midrash, accusing the Almighty of complicity in murder. But it is aimed at us, not God. None of us individually has the power to stop the next murder in Minneapolis, or Iran, or Gaza, or anywhere else, but collectively, we have the power to rise up against this injustice. We are made in the image of God, and with that similitude comes responsibility. We cannot turn away anymore. The blood cries out from the ground – to each and every one of us.
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