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Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it.
NEW YORK (JTA) — Sidney Brustein, Jewish Hamlet?
Anne Kauffman thinks so. She made the comparison in a phone interview about the play she’s directing — a buzzy production of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” that opened on Monday at the Brooklyn Academy of Music starring Oscar Isaac and Rachel Brosnahan.
“One artistic director who was thinking of doing this [play] was like, ‘You know, it’s not like he’s Hamlet, but…’ And I thought, well, no, actually I think he is like Hamlet!” she said.
She added another take: “I feel like he’s Cary Grant meets Zero Mostel.”
Hansberry saw just two of her works produced on Broadway before her death from cancer at 34 in January 1965. Her first, “A Raisin in the Sun,” which follows a Black family dealing with housing discrimination in Chicago, is widely considered one of the most significant plays of the 20th century. The other, “The Sign in Sidney Brustein’s Window,” ran for a few months in the fall of 1964 until Hansberry’s death and has only been revived a handful of times since, all outside of New York.
Now, the star power of Isaac and Brosnahan is driving renewed interest in the play, which deals with weighty questions about political activism, self-fulfillment in a capitalist world, and racial and ethnic identity — including mid-century Jewish American identity.
The Brustein character, as Kauffman alluded to, is many things. A resident of Greenwich Village deeply embedded in that historic neighborhood’s 1960s activist and artistic circles, he is somewhat of a creative renaissance man. At the start of the play, his club of sorts (“it was not a nightclub” is a running joke) called “Walden Pond” has just shuttered and he has taken over an alternative newspaper. As the script reads, Brustein is an intellectual “in the truest sense of the word” but “does not wear glasses” — the latter description being a possible jab at his macho tendencies. Formerly an ardent leftist activist, he is now weary of the worth of activism and a bit of a nihilist. He’s in his late 30s and is a musician who often picks up a banjo.
Brustein is also a secular Jew, a fact that he telegraphs at certain key emotional and comedic moments. Others, from friends to his casually antisemitic sister-in-law, frequently reference his identity, too.
At the end of the play’s first half, for example, Brustein brings up the heroes of the Hanukkah story in talking about his existential angst — and his stomach ulcer. He has become belligerent to his wife Iris and to a local politician who wants Brustein’s paper’s endorsement.
“How does one confront the thousand nameless faceless vapors that are the evil of our time? Can a sword pierce it?” Sidney says. “One does not smite evil anymore: one holds one’s gut, thus — and takes a pill. Oh, but to take up the sword of the Maccabees again!”
Hansberry’s decision to center a white Jewish character surprised critics and fans alike in 1964 because many of them expected her to follow “A Raisin in the Sun” with further exploration of issues facing Black Americans, said Joi Gresham, the director of the Lorraine Hansberry Literary Trust.
“The major attack, both critically and on a popular basis, in regards to the play and to its central character was that Lorraine was out of her lane,” Gresham said. “That not only did she not know what she’s talking about, but that she had the nerve to even examine that subject matter.”
Hansberry’s closest collaborator was her former husband Robert Nemiroff, a Jewish New Yorker whom she had divorced in 1962 but maintained an artistic partnership with. Nemiroff was a bit Brustein-like in his pursuits: he edited books, produced and promoted Hansberry’s work, and even wrote songs (one of which made the couple enough money to allow Hansberry to focus on writing “A Raisin in the Sun”). But Gresham — who is Nemiroff’s stepdaughter through his second marriage, to professor Jewell Handy Gresham-Nemiroff — emphasized that his personality was nothing like Brustein’s. While Brustein is brash and mean to Iris, Nemiroff was undyingly supportive of Hansberry and her work, said Gresham, who lived with him and her mother at Nemiroff’s Croton-on-Hudson home — the one he had formerly shared for a time with Hansberry — from age 10 onward.
Instead, Gresham argued, the Brustein character was the result of Hansberry’s deep engagement with Jewish intellectual thought, in part influenced by her relationship with Nemiroff. The pair met at a protest and would bond over their passion for fighting for social justice, which included combating antisemitism. The night before their wedding, they protested the execution of Julius and Ethel Rosenberg, and they would remain highly involved in the wave of activism that blossomed into the Black-Jewish civil rights alliance.
“Bob and Lorraine met and built a life together at a place where there was a very strong Black-Jewish nexus. There was a very strong interplay and interaction,” Gresham said. “I think Lorraine was very influenced by Bob’s family, the Nemiroffs, who were very radical in their politics. And so there was a way in which she was introduced to the base of Jewish intellectualism and Jewish progressive politics, that she took to heart and she was very passionate about.”
Robert Nemiroff and Lorraine Hansberry were married from 1953-62. They are shown here in 1959. (Ben Martin/Getty Images)
Hansberry didn’t hesitate to criticize Jewish writers who said controversial things about Black Americans, either. When Norman Podhoretz wrote “My Negro Problem — And Ours,” an explosive 1963 article in Commentary magazine now widely seen as racist, Hansberry responded with a scathing rebuke. She also sparred with Norman Mailer, who once wrote an essay titled “The White Negro: Superficial Reflections on the Hipster.”
Gresham said Brustein’s nihilism represents what Hansberry saw in a range of Jewish and non-Jewish white writers, whom she hoped could be kickstarted back into activism. But Hansberry also nodded to the reasons why someone like Brustein could feel defeated in the early 1960s, a decade and a half after World War II.
“You mean diddle around with the little things since we can’t do anything about the big ones? Forget about the Holocaust and worry about — reforms in the traffic court or something?” Brustein says at one point in the play to a local politician running as a reformer.
Daniel Pollack-Pelzner, a Jewish scholar of literature who has written on Hansberry, said the resulting Brustein character is a very accurate depiction of a secular Jew at the time — both keenly attuned to prejudice in society and also lacking some understanding of the experience of being Black.
“I was just intoxicated that Hansberry could conjure that world, both so affectionately, but also so clear-sidedly that it seems like she can see the limitations of all of the characters’ perspectives,” he said. “But she also represents them with sympathy and humor.”
Kauffman, who also helmed a revival of the play in Chicago in 2016, is impressed with how “fully fledged” the Brustein character is.
“Who are the cultural icons who have sort of articulated the Jew in our culture in the last 50 years or 60 years, you know?” she said. “Brustein is not a caricature of a Woody Allen character, he’s not even ‘Curb your Enthusiasm’ or a Jerry Seinfeld character. He’s a fully drawn character.”
Isaac, who is of mainly Guatemalan and Cuban heritage, has played Jewish characters before, including a formerly Orthodox man in an Israeli director’s remake of the classic film “Scenes From a Marriage.” In the lead-up to this play, he has largely avoided getting caught in headlines focused on the “Jewface” debate, over whether non-Jewish actors should be allowed to play Jewish characters on stage and screen.
But when asked about the responsibility of playing a Jewish character in a New York Times interview, Isaac referenced the fact that he has some Jewish heritage on his father’s side.
“We could play that game: How Jewish are you?” he said to interviewer Alexis Soloski, who is Jewish. “It is part of my family, part of my life. I feel the responsibility to not feel like a phony. That’s the responsibility, to feel like I can say these things, do these things and feel like I’m doing it honestly and truthfully.”
When Kauffman directed a version of the play at the Goodman Theater in Chicago in 2016, her lead actor had “not a single drop of Jewish heritage…in his blood,” and she said she had to convey “what anger looks like” coming from a Jewish perspective. Working with Isaac has been different — instead of starting at a base of no knowledge, she has been pushing for more of an Ashkenazi sensibility than a Sephardic one.
“I believe that his heritage leans, I’m guessing, more towards Sephardic. And mine is pure Ashkenazi,” she said. “We sort of joke: ‘[The part] is a little bit more Ashkenazi than that, you know what I mean?’ Like, ‘the violence is actually turned towards yourself!’”
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The post Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it. appeared first on Jewish Telegraphic Agency.
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Report: Khamenei Moved to Underground Bunker in Tehran
Iran’s Supreme Leader Ayatollah Ali Khamenei speaks in a televised message, after the ceasefire between Iran and Israel, in Tehran, Iran, June 26, 2025. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS
i24 News – Amid tense expectation of US strike on key assets of the Islamic regime, Iran’s Supreme Leader Ali Khamenei was moved into a special underground bunker in Tehran, the Iran International website reported on Saturday.
The report further added that the supreme leader’s third son Masoud Khamenei has taken over day-to-day management of the leader’s office, functioning as the de facto main channel for coordination vis-à-vis the executive branches of the government and the security forces.
The report describes Khamenei’s hideout as a “fortified site with interconnected tunnels.”
On Thursday US President Donald Trump said that a “massive” naval force was heading toward Iran.
“We have a lot of ships going that direction just in case. We have a big flotilla going in that direction. And we’ll see what happens,” Trump told reporters.
“We have an armada. We have a massive fleet heading in that direction, and maybe we won’t have to use it. We’ll see,” Trump added.
The USS Abraham Lincoln, along with three destroyers, was spotted making its way to the Middle East from Asia, according to ship-tracking data.
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Israel, Syria to Finalize US-Brokered Security Deal ‘Soon,’ as ‘Developments Accelerate Noticeably’
Syria’s interim President Ahmed al-Sharaa speaks during a Ministerial formation of the government of the Syrian Arab Republic, in Damascus, Syria, March 29, 2025. Photo: REUTERS/Khalil Ashawi
i24 News – Syrian and Israeli officials are expected to meet soon under US mediation, perhaps in Paris, to finalize a security agreement between Damascus and Jerusalem, a source close to Syrian President Ahmed al-Sharaa told i24NEWS on Saturday.
According to the Syrian source, the talks will also focus on various potential joint strategic and economic projects in the buffer zones between the two countries.
“There is very optimistic talk suggesting the possibility of even opening an Israeli embassy in Damascus before the end of this year, given the significant progress in the prospect of Syria joining the Abraham Accords,” the source said.
The original Syrian plan was limited to a security agreement and the opening of an Israeli liaison office in Damascus without diplomatic status, the source tells me. “But developments are accelerating noticeably under pressure from the United States, and specifically by President Trump, and amid growing Syrian openness.”
If Damascus manages to reach an integration agreement with the Druze in southern Syria, similar to its agreement with the Kurds in the northeast, and Israel commits to respecting Syria’s unity and territorial integrity, then al-Sharaa would be open to elevate the status of the agreement with Israel to more than just a security agreement, to also include diplomatic relations and an Israeli embassy in Damascus.
“The al-Sharaa government believes that a viable compromise to advance a peace process with Israel would include a 25-year lease for the Golan Heights, similar to the one Jordan previously signed with Israel over the border enclaves, turning it into a ‘Garden of Peace” of joint economic ventures,” the source said.
The source close to al-Sharaa also tells me that US President Trump is seeking to bring Israeli Prime Minister Netanyahu and President Al-Sharaa together for a peace agreement signing ceremony.
It should be noted that Israel has repeatedly rejected returning any part of the Golan Heights, let alone the entire territory.
On another front, the source stated that Damascus intends to adopt a new local administration system based on expanded administrative decentralization to enhance participation in local communities across all Syrian governorates.
According to the source, this solution would resolve persisting disputes with the Druze, Kurds, Alawites, and other minorities. A new Syrian government is expected to be formed within the next three months, the source added.
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What will become of the Dutch farm school that saved my father from the Nazis?
In North Holland, a grand community house rises above neighboring farms. Built in 1936 by students of Werkdorp Wieringermeer (Werkdorp means “work village”; Wieringermeer was the name of the township), the building held the dining room and classrooms of a Jewish farm school. A stunning example of Amsterdam School architecture, the Werkdorp’s brick and cobalt-blue facade dominates the polder, or land claimed from the sea.
Today, the land grows tulips. Nearby, Slootdorp (“Ditch Village”) honors the canals that carry the water away.
In 1939, the school sheltered 300 German-speaking Jewish students, including this reporter’s father, who arrived, his head shaved, on Jan. 4, from Buchenwald.

Why a Jewish farm school? In the 1930s, most young German and Austrian Jews were city dwellers and had no idea how to milk a cow, raise chickens, or plow land. But as the Nazis barred Jews from education and professions, farm laborers were the immigrants most wanted by the handful of countries accepting Jewish refugees.
Some 30 such training schools were established in Germany, modeled on the hachsharah throughout Europe that taught Jewish youth the skills to settle in what was then Palestine. The Werkdorp, the largest in Holland, was non-Zionist. Its objective was to send young farmers to any country that would take them.
Today, volunteers have assembled a grassroots museum that showcases the Werkdorp’s years, 1934 to 1941. Pinned to the walls inside are pictures taken by the Russian-American photographer Roman Vishniac, who visited in 1938, and by the Dutch photojournalist Willem van de Poll. They show students haying, plowing, feeding chickens, baking bread.

Also on the walls are images of the nearly 200 Werkdorpers who were not as lucky as my father. The Nazi official Klaus Barbie — who became known as the “Butcher of Lyon” for his harsh treatment of resistance fighters there — rounded up the Werkdorpers in 1941 and sent them east to concentration camps, where they were murdered.
A scroll of those victims’ names hangs near the entrance. In the huge kitchen, you can still see the kosher sinks, one tiled red and white for dishes for meat, the other black and white for dairy. Otherwise, the three floors of the great hall stand largely empty.
Protected from demolition by the Netherlands Agency for Cultural Heritage, the community house and its land have been owned since 2008 by Joep Karel who runs a private real estate company that builds housing. Karel pays for the building’s upkeep and opens it to cultural groups and schools.
But the developer has a grander plan. He wants to create a modern memorial center that tells the story of the Werkdorpers and the polder. To fund his venture, he would erect housing behind the community house, to be rented by migrant workers. In April 2020, the council of Hollands Kroon — the Crown of Holland, as the township is called today — approved such housing for 160 workers.
The organizers of the museum are uncertain: Will the project enhance their efforts, or thwart them?
A hero or a collaborator?
North Holland juts like the thumb of a right mitten into the North Sea. A decade before the community house was inaugurated in January 1937, the land beneath it was seabed. The first students, 11 boys and four girls, arrived in 1934 to live in barracks that had housed the polder’s builders. Their task: to build a school.
The farm school admitted refugees for a two-year course. Its purpose was to help them emigrate, the only way The Hague would allow the school to function. Residents spoke German; there was no need to learn the language of one’s temporary home.
Gertrude van Tijn, a leader of the Dutch Jewish refugees committee — tasked with finding countries that would accept thousands of Germans and Austrians forced to flee the Nazis — handled admissions. Most of the Werkdorp’s budget came from Dutch Jewish donors, with contributions from Jewish groups in Britain and America. Students’ families paid fees if they could.

The school was internationally recognized. James G. McDonald, the American high commissioner for refugees of the League of Nations, attended its opening ceremony. The legal scholar Norman Bentwich praised the village in The Manchester Guardian. Although the school was non-Zionist, Henrietta Szold, a leader of Youth Aliyah, brought 20 German teenagers there in 1936.
Werkdorp Wierengermeer helped at least 500 German and Austrian Jews, ages 15-25, escape the Nazi regime.
It was Van Tijn, a German Jew who’d married a Dutchman, who got my father, George Landecker, out of Buchenwald. He had been arrested in Frankfurt on Kristallnacht, the November 1938 pogrom, and sent east by train to Buchenwald.
In the camp he met his friends and teachers from Gross Breesen, a farm school in eastern Germany, from which he had graduated that May. Breesen was the Werkdorp’s sister farm school. By admitting the Breeseners and my father to the Werkdorp, Van Tijn got Dutch entry permits for all.
For the Gestapo in January 1939, such proof that a prisoner could leave Germany secured freedom.
Van Tijn saved thousands of young people like my father, but she worked with the Nazis to do so. After the war, historians and people seeking to repatriate Dutch Jews called her a collaborator. She moved to the United States and wrote a memoir, in which she criticized other Jewish leaders for their decisions under German rule. According to her biographer Bernard Wasserstein, she never published the memoir because she didn’t want to make money from describing the atrocities she had seen.
When my father arrived in 1939, the Werkdorpers were cultivating 150 acres — there was wheat, oats, rye, barley, and sugar beets for the animals: 60 cows, 40 sheep, and 12 workhorses. The residents raised chickens, grew vegetables, and baked their own bread. The school taught carpentry, welding and plumbing, skills I would see my father use, not always deftly, later as a dairy farmer in New York state. (Dad was a good farmer, but he was less than expert in all the other skills a farmer needs.)
My father got a visa to America and left Rotterdam on the steamship Veendam, arriving in New York on Feb. 5, 1940. Three months later, the Nazis invaded Holland, cutting off all routes of escape.
‘Their names should be spoken’
Over the decades, Wieringer residents have found ways to commemorate the residents who died.
Marieke Roos, then a board member of the Jewish Work Village Foundation, proposed a monument of their names. She raised funds and recruited volunteers. Completed in 2021, the memorial comprises 197 glass blocks embedded in a semicircle at the building’s gateway. They mirror the layout of the dorms, now long gone, which once embraced the rear of the community house. Each block commemorates a student, teacher, or family member deported and murdered. One honors Frits Ino de Vries (1939–43), killed at Auschwitz with his mother and sister, Mia Sara, who was 5.

Corien Hielkema, also from the foundation, teaches local middle schoolers about the Werkdorpers’ fate. Each student creates a poem, painting, or website about a Werkdorper because “their names should be spoken and their stories told,” she told me.
Rent from migrant workers may sound like an unusual way to fund a memorial center. But in Joep Karel’s plan, such housing would be built behind the community house, and would be reminiscent of the dormitories where my father lived. Hollands Kroon’s biggest exports are flowers, cultivated by workers from the eastern EU. The region desperately needs housing for these temporary workers. In 2024, the province gave Karel 115,000 Euros to start the project.
Joël Cahen, who chairs the fundraising for Karel’s Jewish Work Village Cultural Center, says that attracting tourists here won’t be easy — it’s a 45-minute drive from Amsterdam, “along a boring road,” he said. Nevertheless, he said he thinks Karel’s idea will work, though “it will take time.”
Some neighbors objected to housing migrant workers, Cahen said. They feared noise pollution, traffic and drugs. Months of legal delay produced a court decision in Karel’s favor, but by then construction costs had skyrocketed.
Now, Cahen said, Karel needs an investor. The developer did not answer a question about how that search is going, except to say, via Cahen, that he would break ground “as soon as possible.” Roos says she has been hearing “soon” for years.

And if the housing were to be completed and the workers arrived, where would they hang their laundry, store their recycling, hide their trash? It would be hard to hide the chaff of daily living on the site’s four acres. Who would visit such a memorial center, and how would the owner keep it running?
Those are legitimate questions, Cahen said. But “we need people to help us push this thing forward. This is a chance.”
Kees Ribbens, a senior researcher at the NIOD Institute for War, Holocaust and Genocide Studies, in Amsterdam, told me that the community house has no “comparable examples in the Netherlands.” It is a “special building,” and a memorial center “would certainly be appropriate.”
Most of the agricultural training centers that saved German Jewish youth have been destroyed or reused. The director’s house of a farm school in Ahlem, Germany, is now a museum. But it became the local Gestapo headquarters, so it also tells that story. The Ahlem school buildings are gone. Gross Breesen, now in Poland, is a fancy golf spa.
The Werkdorp is one of a very few farm schools in Europe whose original building is dedicated to its history.
What my father did and didn’t tell me
My father talked a lot about his first farm school, Breesen. Survivors from Breesen, in America and around the world, remained his closest friends.

Yet he mentioned his time in the Netherlands only once. My mother had served a Dutch cheese to some guests. Dad told us how he’d been hitchhiking in Holland with a friend, when a truck carrying Edam cheeses had picked them up. They rode in the truckbed, hungry, surrounded by giant cheese wheels.
It was such a slim memory. I assumed he had lived in Holland for a few weeks. I learned only recently that Werkdorp Wieringermeer had protected him from January 1939 until February 1940.
Now I think my father didn’t want to remember his Dutch year. Because like refugees today, everywhere, he was terrified.
Dad once told an interviewer how he’d read a memoir by a man who was arrested on Kristallnacht and transported by train to Buchenwald. My father realized, “That’s me. I did that too.” He had no memory of actually doing it at all.
The brain is good at shielding us from trauma. His year at Werkdorp Wieringermeer may have been like his train ride after Kristallnacht, a time he needed to forget. He was worrying about his parents and siblings, who would not escape Germany until November. (One brother, his wife, and toddler would not survive the war.) He was anxious about the U.S. visa the Breeseners had applied for as a group (they circumvented the American quota on Germans, another story). He had been forced to watch people hanged at Buchenwald for trying to escape.

Yet my father was an optimist when I knew him, and never dwelled on suffering. And I never thought, “I should ask about his experience in the Holocaust because I will want to write about it one day.”
So the only thing I knew about his experience in the Netherlands was that he’d hitched a ride in a truck full of cheese.
An hour’s drive beyond the Werkdorp from Amsterdam, there’s a memorial to the 102,000 people deported from the transit Kamp Westerbork and murdered during the Second World War. It draws 150,000 visitors annually. Cahen hopes the Werkdorp could attract 10,000.
Like Westerbork, the Werkdorp was a transit point — but with a key difference: Many of its residents were saved.
As the daughter of one of them, I hope the tension over the future of its community house will ease, and that someone will make a grand memorial center flourish there.
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