Uncategorized
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.
—
The post For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness appeared first on Jewish Telegraphic Agency.
Uncategorized
4 arrested after protesters set off smoke bombs at Paris performance of Israel Philharmonic
(JTA) — Four people were arrested by French police late Thursday after protesters set off smoke bombs during a concert by the Israel Philharmonic Orchestra in Paris.
Spectators who bought tickets attempted three disruptions during the concert on Thursday night, twice with smoke bombs, according to the Philharmonie de Paris. The protesters also clashed with other people in the audience and musicians briefly left the stage. Once the protesters were evacuated, the concert resumed.
Video from the auditorium showed a chaotic scene, with smoke and flames causing some in the audience to scatter and attendees throwing punches at each other without any obvious immediate intervention.
Criticism had mounted ahead of the performance, with pro-Palestinian activists calling for its cancellation. CGT-Spectacle Union, which represents workers in the performing arts, said in October that the Philharmonie de Paris should not hold the concert without “reminding the public of the extremely serious accusations weighing on the leaders of that country [Israel] or the nature of the crime committed in Gaza.”
The Philharmonie de Paris said it “strongly condemns and deplores” the disruptions. “Nothing can justify such actions,” the group said in a statement on Friday. “Whatever one’s opinions may be, it is completely unacceptable to threaten the safety of the public, staff and artists.”
It added that security around the concert had already been “considerably reinforced” in conjunction with French police.
The concert was conducted by Lahav Shani with Hungarian-born pianist Sir András Schiff. Shani was scheduled to lead a program in Belgium with the Munich Philharmonic that was canceled by the Flanders Festival Ghent in September. The festival cited a lack of “sufficient clarity about his attitude to the genocidal regime in Tel Aviv.”
Schiff, an outspoken critic of Hungary’s leader Viktor Orban and other far-right movements in Europe, announced earlier this year that he would boycott performing in the United States because of President Donald Trump’s “unbelievable bullying” of other nations. He is an artist-in-residence at the Israel Philharmonic Orchestra.
French ministers quickly rebuked Thursday’s events. “I strongly condemn the disruptions that occurred at the philharmonie during the concert of the Israel Philharmonic Orchestra,” tweeted Culture Minister Rachida Dati, who had earlier welcomed the touring group to France in an indirect rebuttal of the employees union. “Violence has no place in a concert hall. The freedom of programming and creation is a fundamental right of our Republic!”
Interior Minister Laurent Nuñeza also said on X that “nothing can justify” the actions of the protesters.
But Manon Aubry, a member of the far-left party France Unbowed, refused to condemn the disruptions in a TV interview.
“The general secretary of the Israel Philharmonic Orchestra himself acknowledges that he is ‘Israel’s cultural ambassador to the world,’” Aubry said in a post sharing the clip. “Culture must not serve to promote a genocidal state, and that is the same reason why Russia had been excluded from Eurovision.”
The Israel Philharmonic recently held multiple concerts in New York City, where protests outside did not interfere with the performances. Earlier this year, protesters shouted pro-Palestinian slogans multiple times during a performance in San Francisco, but the performance continued and there was no violence.
The post 4 arrested after protesters set off smoke bombs at Paris performance of Israel Philharmonic appeared first on The Forward.
Uncategorized
4 arrested after protesters set off smoke bombs at Paris performance of Israel Philharmonic
Four people were arrested by French police late Thursday after protesters set off smoke bombs during a concert by the Israel Philharmonic Orchestra in Paris.
Spectators who bought tickets attempted three disruptions during the concert on Thursday night, twice with smoke bombs, according to the Philharmonie de Paris. The protesters also clashed with other people in the audience and musicians briefly left the stage. Once the protesters were evacuated, the concert resumed.
Video from the auditorium showed a chaotic scene, with smoke and flames causing some in the audience to scatter and attendees throwing punches at each other without any obvious immediate intervention.
Criticism had mounted ahead of the performance, with pro-Palestinian activists calling for its cancellation. CGT-Spectacle Union, which represents workers in the performing arts, said in October that the Philharmonie de Paris should not hold the concert without “reminding the public of the extremely serious accusations weighing on the leaders of that country [Israel] or the nature of the crime committed in Gaza.”
The Philharmonie de Paris said it “strongly condemns and deplores” the disruptions. “Nothing can justify such actions,” the group said in a statement on Friday. “Whatever one’s opinions may be, it is completely unacceptable to threaten the safety of the public, staff and artists.”
It added that security around the concert had already been “considerably reinforced” in conjunction with French police.
The concert was conducted by Lahav Shani with Hungarian-born pianist Sir András Schiff. Shani was scheduled to lead a program in Belgium with the Munich Philharmonic that was canceled by the Flanders Festival Ghent in September. The festival cited a lack of “sufficient clarity about his attitude to the genocidal regime in Tel Aviv.”
Schiff, an outspoken critic of Hungary’s leader Viktor Orban and other far-right movements in Europe, announced earlier this year that he would boycott performing in the United States because of President Donald Trump’s “unbelievable bullying” of other nations. He is an artist-in-residence at the Israel Philharmonic Orchestra.
French ministers quickly rebuked Thursday’s events. “I strongly condemn the disruptions that occurred at the philharmonie during the concert of the Israel Philharmonic Orchestra,” tweeted Culture Minister Rachida Dati, who had earlier welcomed the touring group to France in an indirect rebuttal of the employees union. “Violence has no place in a concert hall. The freedom of programming and creation is a fundamental right of our Republic!”
Interior Minister Laurent Nuñeza also said on X that “nothing can justify” the actions of the protesters.
But Manon Aubry, a member of the far-left party France Unbowed, refused to condemn the disruptions in a TV interview.
“The general secretary of the Israel Philharmonic Orchestra himself acknowledges that he is ‘Israel’s cultural ambassador to the world,’” Aubry said in a post sharing the clip. “Culture must not serve to promote a genocidal state, and that is the same reason why Russia had been excluded from Eurovision.”
The Israel Philharmonic recently held multiple concerts in New York City, where protests outside did not interfere with the performances. Earlier this year, protesters shouted pro-Palestinian slogans multiple times during a performance in San Francisco, but the performance continued and there was no violence.
—
The post 4 arrested after protesters set off smoke bombs at Paris performance of Israel Philharmonic appeared first on Jewish Telegraphic Agency.
Uncategorized
Kanye says he wants to ‘make amends’ with Jews, meets with Orthodox celebrity rabbi
(JTA) — After years of virulent antisemitic comments, the American rapper Ye, formerly known as Kanye West, told an Orthodox rabbi on Tuesday in New York that he was ready to “make amends” for his actions.
“I feel really blessed to be able to sit here with you today and just take accountability,” Ye told Rabbi Yoshiyahu Yosef Pinto in a video posted on social media.
Pinto is an Israeli rabbi who serves as the chief rabbi of Morocco. He has previously counseled celebrities including Lebron James and was jailed in Israel in 2016 for bribery.
Ye first appeared to distance himself from his antisemitic record, which included a song praising Hitler and several tirades on X that included a 2022 vow to “go death con 3 ON JEWISH PEOPLE,” in May when he declared on social media that he was “done with antisemitism.”
Since then, the incendiary rapper has been relatively quiet on social media. During his meeting with Pinto, he appeared to cast blame for his actions on his struggle with bipolar disorder.
“I was dealing with some various issues, dealing with bipolar also, so it would take the ideas I had and taking them to an extreme where I would forget about the protection of the people around me or and myself,” Ye said as the two men held hands.
Explaining his experience with bipolar disorder to the rabbi, Ye said it was like someone “left your kid at the house and your kid went and messed up the kitchen,” adding that it was his responsibility to “go clean up the kitchen.”
“It’s a big deal for me as a man to come and take accountability for all the things that I’ve said, and I really just appreciate you embracing me with open arms and allowing me to make amends,” Ye said. “And this is the beginning and the first steps, and the first brick by brick to build back the strong walls.”
Following Ye’s appeal, Pinto responded through a translator, who told Ye, “The Jews live on this way of if someone did something wrong, you can regret and fix it,” adding, “From now on, strong things and good things, you are a very good man.”
The two men then stood from their chairs and hugged.
“A person is not defined by his mistakes, but by the way he chooses to correct them. This is the true strength of man: The ability to return, to learn, and to build bridges of love and peace,” wrote Pinto in a post on Instagram of the interaction.
Two hours before Ye reposted the meeting with Pinto on his X account, he posted an advertisement for a planned concert this January in Mexico City. The post was his first since making an identical announcement in September.
The post Kanye says he wants to ‘make amends’ with Jews, meets with Orthodox celebrity rabbi appeared first on The Forward.