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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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FIFA Takes No Action Against Israeli West Bank Settlement Soccer Clubs but Fines IFA for ‘Discrimination’
Soccer Football – FIFA Club World Cup – Group D – Esperance de Tunis v Chelsea – Lincoln Financial Field, Philadelphia, Pennsylvania, US – June 24, 2025, General view of the FIFA logo before the match. Photo: REUTERS/Lee Smith
FIFA has rejected formal complaints by the Palestinian soccer federation to suspend its Israeli counterpart but has fined the Israel Football Association (IFA) on disciplinary charges related to “discrimination,” “offensive behavior,” and “violations of fair play,” the international governing body of soccer announced on Thursday.
At the 74th FIFA Congress in Bangkok in May 2024, the Palestinian Football Association (PFA) presented a proposal to sanction Israel’s soccer teams, including its national team, because of what they claimed were international law violations committed by Israeli forces in the Gaza Strip. The proposal also called on FIFA to take action against Israeli soccer clubs that the PFA claimed were based in Palestinian territory, particularly settlements in the West Bank.
The PFA further said that FIFA should address what it claimed was IFA’s failure in taking decisive action against alleged discrimination and racism. The Palestinian fedeation has claimed for years that Israel violates FIFA rules by allowing teams from settlements in the West Bank to play in its national league.
FIFA’s Disciplinary Committee ruled on Thursday that it will not take action against Israeli soccer clubs in West Bank settlements because of the “unresolved” legal status of the West Bank under international law.
“FIFA should take no action given that, in the context of the interpretation of the relevant provisions of the FIFA Statutes, the final legal status of the West Bank remains an unresolved and highly complex matter under public international law,” the committee said in a statement. “FIFA should continue to promote dialogue and offer mediation between the Palestine Football Association and the Israel Football Association at an operational level. In this context, FIFA will continue to facilitate structured engagement and monitor developments.”
However, FIFA’s Disciplinary Committee has fined the IFA 150,000 Swiss francs – which is almost $190,000, – for committing “grave and systematic violations of FIFA’s core principles.” The IFA is being sanctioned for “offensive behavior and violations of the principles of fair play” as well as “discrimination and racist abuse.” The fine was issued following FIFA’s investigation into complaints about the IFA’s handling of discrimination and racism in soccer. FIFA said the Israeli association had not taken enough action against repeated racist behavior by supporters of certain Israeli soccer clubs, including Beitar Jerusalem, and offensive and politicized public statements by Israeli soccer officials and clubs.
“The committee finds that IFA’s conduct has created a perception of impunity and selective enforcement, which is incompatible with the principles of fairness and universality that underpin the sport,” the panel announced. “In particular, by failing to condemn or remediate discriminatory practices and exclusionary policies — particularly those affecting Palestinians — the IFA has become institutionally complicit in a system that violates the core values of the game.”
One-third of the fine must be used to implement “a comprehensive plan to ensure action against discrimination and to prevent repeated incidents,” with a focus on certain areas including monitoring and educational campaigns. The IFA must also display a “significant and highly visible banner,” approved by FIFA, that says “Football Unites the World – No to Discrimination” alongside the IFA’s logo at its next three A‑level FIFA competition home matches.
The committee said it “cannot remain indifferent to the broader human context in which football operates,” and that the sport “must remain a platform for peace, dialogue, and mutual respect.”
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Move over Thomas Edison, this deli savant is the Garden State’s newest inventor
First, in 1876, Thomas Edison opened up his “invention factory” in Menlo Park, New Jersey. Then, in 1941, Alexander Graham Bell’s Bell Labs moved its headquarters to Murray Hill at the northern end of the state.
In 2021, another wide-eyed tinkerer set up shop in Jersey City, though his inventions would be molded out of rye, wheat and cured beef, not aluminum and tungsten.
The maverick’s name is Jason Stahl, a 48-year-old father with a career in publishing. He operates his food business under the name Hank Schwartz’s Delicatessen and Appetizing, cooking out of a ghost kitchen in Jersey City. And he does things with smoked fish that would make your bubbe blush.
Take his “Smoked Salmon Tartare,” for example. He mixes up capers, lemon, dill,and Dijon mustard so their breezy tartness lightens the Baltic smoke of nova. The pink concoction is a revelation, balancing out the fish’s brininess so that a diner would be tempted to eat an entire half-pound of the stuff in one sitting.
I speak from experience. I first tried Stahl’s cooking at Jersey City’s Riverview Farmer’s Market last fall, where he slings mind-bending, Jew-ish sandwiches, tartare, whitefish salad, olives, and various other noshes on a biweekly basis.
On a sunny day at the Farmer’s Market, a steady stream of customers poured in. One customer, a middle-aged man, asked about Stahl’s brisket sandwiches — Stahl had made shredded brisket and mixed it with horseradish mayonnaise to make a pulled meat sandwich, then layered it with caramelized onion jam.
Stahl was sold out. “Curse you,” the customer exclaimed.
From home cook to deli master
At the market, Stahl spoke softly to the people who came to his booth, greeting customers by their first names and chatting with boys about their favorite sports teams. His gentle cadence and warm smile bely what he says is an anxious disposition that his wife, and his cooking, help to temper.
Stahl says that, until recently, he had been more of a weekend warrior than a professional cook. “I’m not going to pretend I have this amazing culinary background, right?” he said. “I came into this more with a passion, and I’m learning.”
Still, he has hovered close to the restaurant world for a while. He has worked in media for decades, sometimes in food-adjacent roles (most recently as Food Editor at 1-800-Flowers.com). Stahl’s wife, Theresa Gambacourt, manages restaurants and writes cookbooks for a living.
Stahl learned to cook in part from studying cookbooks he got for free as a media professional. In his early days out of college, “I was always experimenting,” he recalled. “I messed up a whole bunch.”
Theresa showed him the tricks she picked up in restaurants, like using infused fats to make a confit. He uses that technique in his zaatar olives, which are submerged in a citrus garlic confit that adds a layer of refreshing depth to the Mediterranean staple.
Over time, his cooking became more and more elaborate. His wife asked the chef at Del Posto, a since-closed Italian fine dining stalwart, if Stahl could stage there; the chef agreed, and Stahl spent every Sunday evening for a year learning the ins-and-outs of the kitchen — including how to cure gravlax and slice meat.
Italy figures heavily in Stahl’s modern deli. His chopped liver, for example, is made with chopped capers and braised with red wine (he makes a mushroom version for those who fear chicken parts).
In around 2019, Theresa gave him Pastrami on Rye: An Overstuffed History of the Jewish Deli for his birthday, and the book planted an idea in his head: “What if we did this?” Stahl asked Theresa about the deli business.
What, she replied, would an amateur cook be able to contribute to such an endeavor?
“I can clean,” he recalls replying. “I’m really good at cleaning.”
Several years later, after the COVID-19 pandemic, he started selling pickles at Riggs Company Provisions, a vendor at the farmer’s market, and Riverview Wines, a nearby wine shop. Today, his pickles encompass classic dill pickles brightened with dried mint, spicy pickles spiked with habanero and Aleppo peppers (the latter a nod to Jewish communities in the Middle East), and sour green tomatoes with dill and celery seeds.
In 2023, the farmer’s market invited him to become a vendor, and he’s been selling there ever since. His repertoire has expanded beyond pickles to include such dishes as chopped liver, homemade sodas, and cured meat and fish sandwiches — all tweaked with the flair of a mad scientist.
Hank Schwartz’s gets its name from fictional characters that Stahl and Gambacourt made up years ago: Hank and Margaret Schwartz, two herrings who escape from a deli and go on adventures around New York City. In this imaginary world, Hank and Margaret hang out with their herring friends, like Charlie Goldberg, a bus driver, and the Crances, a bumbling couple.
A gallivanting, social fish is the perfect mascot for a cook whose relationships and wanderlust drive his cooking.
Take, for example, Stahl’s smoked salmon candy. Though readers in Alaska and the Pacific Northwest might be familiar with the salty-sweet treat, it has not yet taken off in the Northeast. In the Alaskan version, chunks of salmon are brined in brown sugar and salt before being smoked and glazed. Stahl has added dill to his in the past, and the week I tried it, he had rubbed in pastrami spices. The pink chunks were solid and slightly chewy — like firm gumdrops — and redolent of peppercorns, brown sugar and smoke: the type of addictive candy that the children of hipsters might clamor for in a 21st century deli.
‘This is a true story’
Stahl grew up on Staten Island eating sandwiches at both Jewish and Italian delis.
When I asked him how far a dish can veer from Jewish tradition while still being considered “Jewish,” he compared Hank Schwartz’s to the TV show Fargo, which starts with the line “This is a true story.”
Stahl once interviewed the series’ showrunner, Noah Hawley, who told him that in each episode, a single detail is pulled from a true story — for example, a news article about a dramatic car crash.
“In a way, like, I’m doing the same thing,” Stahl said — one Jewish element anchors each dish on his menu; the rest is up for his own interpretation.
During Super Bowl weekend, when the Seattle Seahawks played the New England Patriots, Stahl came up with a sandwich for each team. “The Seattle” consisted of citrus-cured gravlax (a Scandinavian relative of Jewish lox), scallion cream cheese and pickled cucumbers on pumpernickel with a teriyaki glaze, the latter a nod to Seattle’s Japanese community and its role in popularizing teriyaki sauce. “The New England” was Stahl’s take on a lobster roll — swapping in whitefish for treyf.
Stahl now holds a residency two days a week at the Cliff, a cafe in the same Jersey Heights neighborhood he has been plying with smoked fish and meats for the past few years. The pop-up helps him try out running a brick-and-mortar restaurant while he looks for investors and business partners to help him do just that. Surrounded by exposed brick and artwork, he slaps together irreverent sandwich combinations in front of customers. I tried the Schwartzøbrød, a cousin of the everyman Danish brown bread sandwich. Stahl makes his with a butter infused with lime, lemon and orange zest that glides through the heady flavor of cured salmon.
If there’s one element of the Jewish deli that Stahl seeks to maintain, it’s the deli’s status as a community hub. “In these times that we’re living in, people need more comfort. I feel like a Jewish deli is really needed,” he told me, as is “the warmth of a bowl of matzo ball soup. People just find comfort, they find nostalgia.” He recalled with fondness how the week before, the restaurant buzzed with customers enjoying his food and locked in conversation, rarely looking at their phones.
Stahl’s tight-knit community might be the perfect place for Jewish culinary innovation, for the same reasons that Menlo Park and Murray Hill served Edison and the company of Graham Bell. Proximity to New York affords you rare privileges — ethnic diversity and access to the titans of the Jewish-American deli, in Stahl’s case. But so, too, does distance. The sprawling brick buildings and saltbox houses of Jersey City offer cooks a little more room to breathe and try new things.
“Here, it’s less about the luxury” or “pretentiousness,” Stahl said. “It’s more about the care and the presentation of the food, right? They want to just offer the best dishes possible.”
The post Move over Thomas Edison, this deli savant is the Garden State’s newest inventor appeared first on The Forward.
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Czechs Investigate Fire After Reports of Anti-Israel Group Claiming Responsibility
Police officers and firefighters stand in front of a burned production hall at an industrial area in Pardubice, Czech Republic, March 20, 2026. Photo: REUTERS/David W Cerny
Czech investigators are probing an overnight fire at an industrial complex as potentially being a deliberate attack, officials said on Friday, following media reports that a group protesting against Israeli weapons claimed responsibility.
Firefighters said on X that they had responded to a fire at a storage hall in a complex in Pardubice, 120 km (75 miles) east of Prague. No one was injured in the fire, which spread to another building.
Czech news website Aktualne.cz reported that a protest group said it had set fire to a “key manufacturing hub” for Israeli weapons in Pardubice to end its role in the “genocide in Gaza.”
Czech defence firm LPP Holding in a statement on its website said it had confirmed that a fire broke out at one of its facilities on Friday and it was cooperating with authorities.
The company, with a location in the complex, announced plans in 2023 to cooperate with Israeli company Elbit Systems on drone production.
“At this time, we will not speculate on the causes or circumstances of the incident and will await the official conclusions of the investigation,” LPP said.
Police initially said they were investigating whether the fire was intentional and checking public claims of a “concrete group,” without naming it.
They later said investigators with security services were probing the incident under a section of the criminal code dealing with terrorism.
“Based on what we know so far, it is likely the incident may be related to a terrorist attack,” Interior Minister Lubomir Metnar said.