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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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‘America Last’: Report Reveals Suspicious Foreign Support Amplifying Nick Fuentes Online
Nick Fuentes during an interview in December 2025. Photo: Screenshot
Amid ongoing debates about the rise of antisemitic voices on the US political right, recent investigations into social media activity suggest the potential involvement of inauthentic amplification by anonymous actors in India, Pakistan, Nigeria, Malaysia, and Indonesia.
On Monday, the Network Contagion Research Institute (NCRI) released new research showing the techniques used by overseas operatives to promote the authoritarian ideologies of antisemitic podcaster Nick Fuentes, who claims he seeks to preserve the white, European identity and culture of the US.
Titled “America Last: How Fuentes’s Coordinated Raids and Foreign Fake-Speech Networks Inflate His Influence,” the 23-page report dissects how the 27-year-old influencer “consistently amasses far more retweets than any comparable figure, including Elon Musk, despite having a fraction (<1%) of the follower count.”
The report was co-drafted with the support of the Rutgers University Social Perception Lab. Previous research collaborations between NCRI and Rutgers have also explored how far-right influencers hijacked the religious phrase “Christ is King” to advance their ideology and how Tik-Tok content promotes the Chinese Communist Party’s international objectives.
The researchers reviewed Fuentes and compared him with other prominent accounts. They discovered that “within the critical first 30 minutes, Fuentes routinely outperformed accounts with 10-100× more followers.” The report explains that “in a sample of 20 recent posts, 61% of Fuentes’s first-30-minute retweets came from accounts that retweeted multiple of these 20 posts within that same ultra-short window – behavior highly suggestive of coordination or automation.”
The accounts are characterized as entirely anonymous and seemingly single-purpose for promoting Fuentes.
While Fuentes has grown most well-known for his endorsement of Adolf Hitler, Holocaust denial, and pre-Vatican II, Catholic-reactionary antisemitism, the report highlights the podcaster’s endorsements of terrorism and enthusiasm for sexual violence. He has stated that he seeks a 16-year-old wife, desiring an underage woman “when the milk is fresh.” This aligns with his support for the Taliban in Afghanistan, a nation which has now seen the return of child marriage. Fuentes also claims that rape within marriage is impossible, since he believes that a wife’s body belongs to her husband.
Fuentes also “praised Vladimir Putin for the invasion of Ukraine, expressed support for China taking Taiwan, and described the Taliban’s victory over US forces as a positive development.”
The researchers in their analysis seek not to explain Fuentes’s views but rather to “assess how synthetic engagement, real-world events, and media incentives converged to elevate a fringe figure into a central subject of national attention.”
Looking into Fuentes’s history and disclosures from former insiders within his organization support the suggestion of artificial engagement.
“Additional evidence shows that Fuentes has a prior history of coordinated digital manipulation. In 2022, two former associates described internal group chats where Fuentes directed interns and loyalists to carry out online tasks on his behalf, and a former technical aide alleged that viewer counts on his streaming platform were artificially inflated using a built-in multiplier,” the report states.
The researchers explain that “Fuentes did not deny the inflation itself. These documented practices demonstrate a willingness to orchestrate controlled teams and manipulate digital metrics — behavior entirely consistent with the coordinated amplification patterns observed on X.”
The report features images of “America First” Fuentes appearing on different foreign TV networks including the Iranian regime’s Press TV and Russia Today (RT). On the former he sided with Iran during an American attack in support of Israel, and on the latter, he claimed that support for Ukraine was based on “Russophobia.” He also reportedly stated that he would “fight on the side of China against America.”
Another picture shows Fuentes in 2022 at the America First Political Action Conference, where he stated in his introduction to US Rep. Marjorie Taylor Greene (R-GA): “And now they’re going on about Russia and Vladimir Putin, saying he’s Hitler – they say that’s not a good thing. Can we get a round of applause for Russia?”
The analysts describe how “Fuentes’s defense of authoritarian adversaries — Russia, Iran, China — is not a minor contradiction. It represents a coherent pattern in which his anti-American worldview aligns more closely with America’s enemies than with its interests. His self-proclaimed patriotism crumbles in the face of performative contrarianism, where any regime that resists liberal democracy becomes, in his eyes, preferable to the current United States.”
According to NCRI, the Russian and Iranian media’s approval of Fuentes “underscores the broader point: the figure elevated by algorithmic manipulation and mainstream media grooming as a voice of nationalist revival is, in reality, one of the most reliable public defenders of America’s geopolitical foes.”
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Israel Restores Relations With Bolivia, Signs Free Trade Deal With Costa Rica as Latin American Ties Strengthen
Israeli Foreign Minister Gideon Saar (left) and Bolivian Foreign Minister Fernando Armayo (right) sign a Joint Communiqué in Washington, DC on Dec. 9, 2025, formally restoring diplomatic relations between the two countries. Photo: Screenshot
Israel is further expanding its diplomatic and economic presence in Latin America, formally restoring relations with Bolivia and signing a free trade agreement with Costa Rica as the Isaac Accords begin to take shape.
On Tuesday, Israeli Foreign Minister Gideon Saar and Bolivian Foreign Minister Fernando Armayo signed a Joint Communiqué in Washington, DC, formally restoring diplomatic relations between their countries after two years of severed relations amid the war in Gaza.
“Today, we are ending the long, unnecessary chapter of separation between our two nations,” the top Israeli diplomat said during a speech at the signing ceremony.
“Following the election of [Bolivian] President Rodrigo Paz, I am pleased to announce that Israel and Bolivia are renewing diplomatic relations,” he continued.
Israel and Bolivia: We renewed our diplomatic relations!
We’re continuing to work. pic.twitter.com/oUtcXyyaHa— Gideon Sa’ar | גדעון סער (@gidonsaar) December 10, 2025
During their meeting, both leaders committed to fully restoring diplomatic relations, appointing ambassadors, and fostering collaboration between government and private-sector representatives.
They also pledged ongoing dialogue and broader cooperation in areas including agriculture, security, health, innovation, and their shared fight against organized crime and narco-terrorism.
“Bolivia, the Jewish people, and the State of Israel share a long history of true friendship,” Saar said during his speech. “Bolivia opened its doors to Jewish refugees during the Second World War when much of the world closed its gates.”
“Bolivia supported the establishment of the State of Israel in the historic 1947 UN vote,” he continued. “For many decades, our two nations enjoyed warm diplomatic relations. The renewal of our ties is an important and welcome step.”
Bolivia has also announced it will lift visa requirements for Israelis entering the country, a move the top Israeli diplomat praised as helping to “strengthen the human bridge between our peoples.”
With the official launch of the Isaac Accords by Argentina’s President Javier Milei last week, Israel has been working to expand its diplomatic and security ties across Latin America, with the new effort designed to promote government cooperation and fight antisemitism and terrorism.
Modeled after the Abraham Accords — a series of historic US-brokered normalization agreements between Israel and several Arab countries, this initiative aims to strengthen political, economic, and cultural cooperation between the Jewish state and Latin American governments.
The first phase of the Isaac Accords will focus on Uruguay, Panama, and Costa Rica, where potential projects in technology, security, and economic development are already taking shape as the framework seeks to deepen cooperation in innovation, commerce, and cultural exchange.
On Monday, Israel and Costa Rica signed a free trade agreement covering goods, services, and investments, advancing their bilateral relations during Costa Rican Minister of Foreign Trade Manuel Tovar Rivera’s visit to Jerusalem.
Rivera also announced that Costa Rica will open an office for trade and investment innovation in Jerusalem next year.
The newly signed agreement will eliminate over 90 percent of tariffs, providing broad access for Israeli industrial and agricultural products to the Costa Rican market, while also reducing import costs on a wide range of goods, from food and medical equipment to industrial tools.
“This agreement opens significant new avenues for both Costa Rica and Israel,” Rivera said during a speech at the signing ceremony.
“It enhances access to high-quality Costa Rican goods and services while creating a mutually beneficial platform for collaboration in high-technology industries, premium agribusiness and specialized services,” he continued.
Building on the renewed momentum in diplomatic engagement across Latin America, Israel is expanding and strengthening its bilateral relations with several countries in the region.
Argentina announced plans to relocate its embassy to Jerusalem next spring, fulfilling a promise made last year as the two countries continue to deepen their ties.
Last week, Ecuador opened an additional diplomatic mission in Jerusalem, a move that Saar hailed as a “milestone” in strengthening their bilateral relations.
Paraguay, Guatemala, and Honduras, all of which have previously relocated their embassies to Jerusalem, have reaffirmed their support for Israel and signaled intentions to deepen future cooperation.
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What happens when you’re the only Jewish family in Oklahoma?
When her mother Clara dies suddenly of a stroke, Emily is left with her ashes and a note to scatter them on Sylvia’s farm in Chandler, Oklahoma. There’s a problem: Emily has no idea who Sylvia is and has never been to Oklahoma before in her life — and as far as she knows, neither had her mom.
Oklahoma Samovar, a new play opening at La MaMa’s Downstairs Theater, starts at the end of Emily’s trip to find Sylvia, who turns out to be an old woman with a bit of a memory issue and the sister of Emily’s grandmother Rose. When Emily asks why her mother would want her ashes left on the farm, Sylvia launches into their family history. She goes all the way back to 1887, when Emily’s great-grandparents Jake and Hattie fled persecution in Latvia with nothing but a feather bed and a samovar, and unfolds the stories of each generation over the play’s acts.
While most immigration stories usually focus on big cities, Oklahoma Samovar explores the little-known history of Jews in the Midwest in a deeply-human way. It is a tender portrayal of an immigrant family struggling to survive and figuring out their identity over multiple generations. Instead of villanizing or lionizing its characters, Oklahoma Samovar presents people with all their complexities, allowing them moments of moral failing while portraying them with empathy.
A fictional drama based on her own family history, playwright Alice Eve Cohen considers the play her “foundational work.”
“I’ve truly been working on Oklahoma Samovar since the day I met my Aunt Sylvia,” she said. “I met her in 1987. And I was so enthralled and inspired by her stories that I started writing about it probably the next day.”
After putting on a workshop production of the play in 2007, Cohen shelved Oklahoma Samovar to focus on other projects, including authoring two memoirs, writing several other plays, and teaching playwriting and creative writing at The New School. Over a decade later, she returned to working on Oklahoma Samovar and submitted it to the National Jewish Playwriting Contest, where it won in 2021.
“My very first draft of this play was almost verbatim documentation of the stories that Sylvia told me,” Cohen said. “It was very romantic. It was very fanciful. It was almost all positive, and there was no conflict.”
While some elements of the original play remain — such as the use of puppetry, which depicts long boat voyages and dream sequences — the new iteration is not an idealized version of the American Dream. Its characters are complex and flawed to the point that Jake kills someone trying to secure a home for his family during the Oklahoma Land Runs.
“I knew that I had incomplete stories,” Cohen said about the original conversation that inspired the play’s events.
“I’ve done research into the Oklahoma Land Run, which Sylvia described in the most romantic way,” Cohen went on. “In fact, the land run was a violent land grab, it was a theft of land from the Native Americans who had been forced to relocate to what was then called Indian territory.” Cohen explained. “I took this kernel of the story that Sylvia remembered from her childhood, her dad saying, ‘I lost my thumb, but I kept the farm,’ and I realized there was a shootout.”
Although Cohen’s exact version of events is imagined, the harsh depiction of the Land Runs encapsulates the brutality of the immigrant experience and the family’s desperate actions in pursuit of starting their lives in America.
Immigrants also had to choose between assimilating and preserving tradition, a conflict that is exacerbated for Hattie and Jake when they settle in Chandler, an Oklahoma town with virtually no Jewish community. Hattie struggles to connect with her new environment, concerned about the lack of a rabbi and a minyan, but Jake wholeheartedly embraces a new, goyish American cowboy persona. He even adopts a signature catchphrase: “Hot Diggety Damn!”
This struggle with identity follows their oldest daughter Rose into adulthood. Having grown up learning the Bible at Chandler’s Presbyterian Sunday School, Rose is unprepared for the level of Orthodoxy her new mother-in-law expects of her. A Russian immigrant who believes Rose’s lifestyle amounts to heresy, Mrs. Giventer spends her days dismissing Rose as a convert and poor excuse for a wife.
Cohen says these characters serve as a reflection of the diverse experiences in the Jewish diaspora. “They all practice Judaism in different ways. They’ve assimilated in different ways,” Cohen said. “They’ve either held on to their original accents and their original Yiddish language, or they have intentionally spurned them and Americanized as quickly and as completely as they can.”
“When family members from these different traditions and different positions in the spectrum of American Judaism meet, it isn’t always easy,” Cohen said. “There are often huge clashes.”
Even though virtually all the characters of Oklahoma Samovar are Jewish, Cohen does not imagine Jews to be her only audience.
“I think there are universal themes that relate to immigration and assimilation that anybody of any culture can relate to,” Cohen said. “While the play is set in Oklahoma and in New York and in Latvia, I think its stories transcend geographic boundaries.”
And perhaps it will inspire others to find the complicated truths that lie in the sweet family stories they’ve always heard.
Oklahoma Samovar is playing at LaMaMa’s Downstairs Theater through December 21st.
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