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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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Nearly Half of Jewish Students Report Experiencing Antisemitism on US College Campuses, Survey Finds
A student puts on their anti-Israel graduation cap reading “From the river to the sea” at the People’s Graduation, hosted for Mahmoud Khalil and other students from New York University. Photo: Angelina Katsanis via Reuters Connect
The campus antisemitism crisis has changed the college experience for American Jewish students, affecting how they live, socialize, and perceive themselves as Jews, according to new survey results released by the American Jewish Committee (AJC) in partnership with Hillel International.
A striking 42 percent of Jewish students reported experiencing antisemitism during their time on campus, and of that group, 55 percent said they felt that being Jewish at a campus event threatened their safety.
The survey also found that 34 percent of Jewish students avoid being detected as Jews, hiding their Jewish identity due to fear of antisemitism.
Meanwhile, 38 percent of Jewish students said they decline to utter pro-Israel viewpoints on campus, including in class, for fear of being targeted by anti-Zionists. The rate of self-censorship is significantly higher for Jewish students who have already been subjected to antisemitism, registering at 68 percent.
“No Jewish student should have to hide their identity out of fear of antisemitism, yet that’s the reality for too many students today,” Hillel International chief executive officer Adam Lehman said in a statement on Tuesday. “Our work on the ground every day is focused on changing that reality by creating environments where all Jewish students can find welcoming communities and can fully and proudly express their Jewish identities without fear or concern.”
The survey, included in AJC’s new “The State of Antisemitism in America” report, added that 32 percent of Jewish students feel that campus groups promote antisemitism or a learning environment that is hostile to Jews, while 25 percent said that antisemitism was the basis of their being “excluded from a group or an event on campus.”
Jewish students endure these indignities while preserving their overwhelming support for Israel. Sixty-nine percent of those surveyed identified caring about Israel as a central component of Jewish identity and 76 percent agreed that calling for its destruction or describing it as an illegitimate state is antisemitic.
“While we welcome the fact that the vast majority of campuses have not been disrupted by uncontrolled protests in the past year, the data make clear that Jewish students are still experiencing antisemitism on their campuses,” Laura Shaw Frank, the AJC’s vice president of its Center for Education Advocacy, said in a statement. “This survey gives us a critical look into the less visible, but no less important problems, that Jews face on campus.”
She continued, “Understanding the ways in which Jews are being excluded and changing their behavior out of fear of antisemitism is vitally important as we work with institutions of higher education to create truly inclusive campus communities.”
The AJC and Hillel’s survey results are consistent with others in which Jewish students have participated in recent months.
According, to a recent survey of Jewish undergraduates of the University of Pennsylvania (Penn), a significant portion of Jewish students still find the climate on campus to be hostile and feel the need to hide their identity over two years after the campus saw an explosion of extreme anti-Zionist activity and Nazi graffiti.
The survey, conducted by Penn’s local Hillel International chapter, found that 40 percent of respondents said it is difficult to be Jewish at Penn and 45 percent said they “feel uncomfortable or intimidated because of their Jewish identity or relationship with Israel.”
Meanwhile, the results showed a staggering 85 percent of survey participants reported hearing about, witnessing, or experiencing “something antisemitic,” as reported by Franklin’s Forum, an alumni-led online outlet which posts newsletters regarding developments at the university. Another 31 percent of Jewish Penn students said they feel the need to hide their Jewishness to avoid discrimination, which is sometimes present in the classroom, as 26 percent of respondents said they have “experienced antisemitic or anti-Israel comments from professors.”
Overall, 80 percent of Jewish students hold that anti-Israel activity is “often” antisemitic and that Israel’s conduct in war is “held to an unfair standard compared to other nations.”
College faculty play an outsized role in promoting antisemitism on the campus, according to a new study by AMCHA Initiative which focused on the University of California system. The study, titled “When Faculty Take Sides: How Academic Infrastructure Drives Antisemitism at the University of California,” exposed Oct 7 denialism; faculty calling for driving Jewish institutions off campus; the founding of pro-Hamas, Faculty for Justice in Palestine groups; and hundreds of endorsers of the boycott, divestment, and sanctions (BDS) movement against Israel.
The University of California system is a microcosm of faculty antisemitism across the US, the AMCHA Initiative explained in the exhaustive 158-page report, which focused on the Los Angeles, Berkeley, and Santa Cruz campuses.
“The report documents how concentrated networks of faculty activists on each campus, often operating through academic units and faculty-led advocacy formations, convert institutional platforms into vehicles for organized anti-Zionist advocacy and mobilization,” the report stated. “It shows how those pathways are associated with recurring student harms and broader campus disruption. It then outlines concrete steps the UC Regents can take to restore institutional neutrality in academic units and set enforceable boundaries so UC resources and authority are not used to advance activist agendas inside the university’s core educational functions.”
Follow Dion J. Pierre @DionJPierre.
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Forverts podcast, episode 6: At-risk languages
דער פֿאָרווערטס האָט שוין אַרויסגעלאָזט דעם זעקסטן קאַפּיטל פֿונעם ייִדישן פּאָדקאַסט, Yiddish With Rukhl. דאָס מאָל איז די טעמע „שפּראַכן אין אַ סכּנה“. אין דעם קאַפּיטל לייענט שׂרה־רחל שעכטער פֿאָר אַן אַרטיקל פֿונעם ייִדיש־אַקטיוויסט דזשייק שנײַדער, „וואָס אַקטיוויסטן פֿאַר שפּראַכן אין אַ סכּנה קענען זיך אָפּלערנען איינער פֿונעם אַנדערן.“
צו הערן דעם פּאָדקאַסט, גיט אַ קוועטש דאָ.
אויב איר ווילט אויך לייענען דעם געדרוקטן טעקסט פֿונעם אַרטיקל, גיט אַ קוועטש דאָ און קוקט אונטן בײַם סוף פֿון דער זײַט.
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An audiobook narrator told Zionists to kill themselves. A popular romance novelist hired him anyway.
A bestselling romance novelist is facing backlash from her Jewish readers after hiring an audiobook narrator who previously posted on social media telling Zionists to kill themselves.
Abby Jimenez’s novel The Night We Met, set to be published next month, features voice actor Zachary Webber as the narrator of the audiobook.
“If you’re a Zionist and you exist, you should not do that anymore,” Webber posted on his Instagram story in September 2024. “No one likes you and you suck, and go f—cking kill yourself.”
Webber later apologized on Instagram, writing that his comment was “a poorly-worded joke aimed at a violent settler-colonialist enterprise. I regret any language that suggested otherwise. Fortunately, my anti-Zionist Jewish friends understood it was a joke, and moved on with their beautiful lives.” He did not respond to the Forward’s request for comment.
Webber, who has a low, gravelly voice and sums up his job as “I READ SEX,” has narrated more than 250 steamy audiobooks, including eight of Jimenez’s. But amid backlash over Webber’s social media comments, Jimenez originally said she would go in a different direction for the audio narration of The Night We Met, a novel about forbidden love between two best friends.
But earlier this month, Jimenez changed her mind.
“I know I mentioned that I was going with a male voice actor that I’ve never used before, but I’m going to be really honest with you — the fit wasn’t right,” Jimenez posted in her private readers Facebook group. “We did a day of recording and he just wasn’t Chris. All I could think the whole time was how perfectly Zachary would have captured the tone and personality of this character and at the end of recording Day One, I made the choice to change narrators.”
Several readers commented in the Facebook group expressing concern about Webber. But those comments were removed, with Jimenez citing group rules against “political or negative conversations.” She added that she did not “want to be forced to leave to protect my mental health. I cannot go to a comment section to see vitriol, even if it’s vitriol I happen to agree with.”
Neither Jimenez’s literary agent nor Hachette Book Group, the publisher of The Night We Met, responded to the Forward’s request for comment.
The backlash among Jimenez’s readers represents the latest flare-up over Israel in progressive-coded subcultures, from knitting circles to vegan cooking. The romance publishing world, consistently the top-grossing genre in adult fiction, has not been immune: Other recent flashpoints have included boycotts of authors labeled “Zionist” and the decision by SteamyLitCon, a romance book convention, to remove Israeli-born author Michelle Mars from its lineup last year over social media posts organizers said were “anti-Palestinian.”
“It just made me really sad about the state of the industry,” said Chayla Wolfberg, a Jewish author and former fan of Jimenez’s books. “There’s a lot of obviously very complicated things when it comes to engaging with criticism of Israel. And what [Webber] was doing wasn’t that.”
Happily ever after?
Romance publishing has spent the past few decades broadening its vision of who gets a love story — elevating LGBTQ+ narratives, highlighting authors and characters of color, and celebrating diverse body types. But some Jewish writers and readers say they have been excluded from that push.
The lack of Jewish representation in romance was part of what inspired 27-year-old Wolfberg to self-publish Late Night Love, a Saturday Night Live-inspired enemies-to-lovers rom-com featuring a Jewish protagonist. Too often, Wolfberg said, Jewish characters only appear in stories defined by trauma and suffering.
Romance, by contrast, is governed by two nonnegotiable rules: The story must center on a developing romantic relationship, and the conclusion must be emotionally satisfying — the genre’s trademark “happily ever after” (HEA), or at least “happy for now” (HFN). When it comes to Jewish storytelling, Wolfberg said, that structure can feel subversive.
But Wolfberg didn’t feel accepted by the broader romance book community. When she promoted her work online, viewers commented that she was a Zionist and thus shouldn’t support her book.
“It is a radical thing, especially if you are from a historically oppressed or a minority community, to be writing a story that has a happy ending and isn’t just about suffering,” Wolfberg said. “But I think that is where anti-Zionism unfortunately creeps in, in the way that it has become part of the lexicon for people who are anti-oppression.”
Wolfberg has instead found support mostly among other Jewish authors. She said her next book will feature a character who has family in Israel — even though she’s aware that aspect could make it a tough sell.
Meanwhile, popular romance authors whose books have nothing to do with Judaism or Israel have also been targeted.
In a 2015 interview with the Jewish Chronicle, Sarah J. Maas, author of the massively popular A Court of Thorns and Roses series, mentioned going on a Birthright trip to Israel. Maas said she “left Israel overflowing with pride,” and described the country as “a magical, welcoming place.” Nearly a decade later, those comments landed her on the X account Zionists in Publishing, which points out Zionist authors to boycott.
Rebecca Yarros, author of the bestselling romantasy series Empyrean, appeared on a similar account that exposes Zionist authors. Her offense? Posting on Oct. 15, 2023, that “children are not collateral damage” and that she was “horrified by the despicable attack on Israel” and “terrified for the children and Palestinian innocents in Gaza.”
The extent to which those blacklists actually impact sales is unclear; both Yarros and Maas have sold millions of copies.
But it’s still a dynamic Jewish romance enthusiasts would prefer to avoid. In response, they’ve carved out their own spaces: Author Jean Meltzer, who writes Jewish rom-coms such as The Matzah Ball and Kissing Kosher, runs a Facebook group called “Jewish Women Talk About Romance Books,” which has 3,300 members. There, women discuss books they read as part of the The Jewish Joy Book Club, which has one rule: “We read books where nobody dies at the end.”
The need for a Jewish space in the romance genre was also evident to Gillian Geller, a 35-year–old in Toronto, Canada, who used to run a book blog focused on all kinds of novels, with a focus on romance. But after Oct. 7, she shifted to spotlighting Jewish books.
For her, Jimenez’s decision to rehire Webber is another example of how Jewish authors and readers have been excluded from a genre that is otherwise increasingly sensitive to inclusion.
“I felt like if I wasn’t stepping up to help promote these books,” she said, “then nobody else would.”
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