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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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Israeli Christian Leader: Tucker Carlson ‘Doesn’t Want the Truth,’ Endangers Christians Elsewhere by Lying About Israel
Tucker Carlson speaks on first day of AmericaFest 2025 at the Phoenix Convention Center in Phoenix, Arizona, Dec. 18, 2025. Photo: Charles-McClintock Wilson/ZUMA Press Wire via Reuters Connect
Firebrand podcaster Tucker Carlson drew a barrage of heat from Israelis after claiming he was “detained and interrogated” during a brief stop at Ben Gurion Airport on Wednesday, with former Prime Minister Naftali Bennett calling him “a chickens**t” and “a phony” and an Israeli Christian leader describing him as “an enemy of Israel” for lying about the country’s treatment of Christians.
Shadi Khalloul, founder of the Israeli Christian Aramaic Association and a former Knesset candidate, accused the former Fox News host-turned-far-right conspiracy theorist of “destroying Christian-Jewish relations” all over the world and “endangering the persecuted Christian community in the Middle East” by portraying Israel as hostile to Christianity.
“The truth is exactly the opposite,” he said, describing Christians in Israel as enjoying freedom and equal opportunity.
In Khalloul’s telling, Carlson is choosing scenes and storylines that travel well online, then skipping the reporting that might complicate them.
“Tucker Carlson doesn’t want the truth. The truth doesn’t exist in his lexicon,” Khalloul told The Algemeiner.
Earlier this month, Khalloul invited Carlson to a tour of Christian communities and holy sites in Israel, including a meeting with his brother-in-law, the head of the Maronite Church of Israel, but received no response.
I invited @TuckerCarlson to take advantage of his upcoming visit to Israel and meet our thriving Christian community – to see with his own eyes the people and realities he speaks about so confidently and so often on his platform.
This letter was sent a week ago to every email… pic.twitter.com/lcBiecCtUx
— Shadi khalloul שאדי ח’לול (@shadikhalloul) February 17, 2026
“If he [Carlson] was really willing to help, he would come interview us, hear our views, our narrative,” Khalloul said, adding the podcaster would then be able to “expose the oppression of Christians in Lebanon, in Iraq, in Syria, and under the Palestinian Authority by a radical Islamic propaganda agenda,” rather than “talking about me and my community as being persecuted by Israel.”
He pointed to anti-Christian violence in Syria, including a recent church bombing in Damascus, and to the arrest of Maronite official Moussa el-Hajj in Lebanon after he was arrested by Hezbollah operatives at the Lebanese border carrying money and medicine sent from Israel’s Christian community.
Christian communities all over the region are continuing “to shrink while we here are thriving and increasing in numbers and happily living in Israel,” Khalloul said.
Khalloul’s comments came after Carlson spent only a few hours in Israel on Wednesday for an interview with US Ambassador Mike Huckabee and chose not to leave the Ben Gurion Airport facility before flying out of the country.
Bennett described the polemical commentator’s visit as a staged drive-by meant to give him a basis for future anti-Israel commentary.
“Tucker Carlson is a chickens**t,” Bennett posted on the social media platform X.
Tucker Carlson is a chickenshit.
The guy who’s been spouting lies about Israel for the past two years,
landed today at Ben Gurion airport,
took a quick picture in the logistics zone,
tweeted it to pretend he’s actually IN Israel (so he can later claim that he’s a serious… https://t.co/ZWZ8aY7BAG— Naftali Bennett נפתלי בנט (@naftalibennett) February 18, 2026
Carlson, who has been “spouting lies about Israel for the past two years,” didn’t even step foot in the country, Bennett wrote, and instead posted a photo taken in the airport logistics zone to “pretend he’s actually IN Israel (so he can later claim that he’s a serious reporter who toured Israel).”
He “whined” and “made up a story that he’s being supposedly harassed by our security (didn’t happen),” he continued.
“Next time he talks about Israel as if he’s some expert, just remember this guy is a phony!” Bennett concluded.
Carlson’s version, carried by outlets including the New York Post and the Daily Mail, said airport security took passports and “hauled” his executive producer into a room and interrogated him about the interview Carlson had just recorded with Huckabee.
Huckabee pushed back publicly, writing on X: “EVERYONE who comes in/out of Israel (every country for that matter) has passports checked & routinely asked security questions.”
Israel’s Airports Authority also rejected Carlson’s account, saying he and his team were not “detained, delayed, or interrogated” and were only asked “a few routine questions” in a side room inside the VIP lounge “solely to protect their privacy.”
“No unusual incident occurred,” the authority said, adding that it “firmly rejects any other claims.”
Carlson’s airport detention story was “another lie” by “someone who is always inventing stories,” according to Khalloul.
Carlson’s own platform promoted the trip as a fact-finding mission. In a monologue titled “We’re headed to Israel. Here’s why,” his site said he was traveling to “get answers to questions that no one will answer.”
His show page also carried an episode billed as “Israel’s Purging of Christians From the Holy Land and the Plot to Keep Americans From Noticing,” part of a series focused on Christian treatment by the “US-funded Israeli government.”
Commentators on social media pointed out that Carlson’s posting “Greetings from Israel” from an airport logistics zone, then flying out, does not amount to visiting the country in any ordinary sense.
Carlson’s brief trip to Israel contrasts with his interview of Russian President Vladimir Putin in 2024, when he spent multiple days in Russia praising the country on video and infamously marveling at the use of locks on shopping carts — a common feature in Europe.
The podcaster’s visit to Israel also differed from his trip to Doha in December, when he interviewed Qatari Prime Minister Mohammed bin Abdulrahman bin Jassim Al Thani and revealed his plans to purchase a home in the country. Qatar has been a long-time backer of the Muslim Brotherhood, including its Palestinian offshoot Hamas, an internationally designated terrorist group.
Carlson has ramped up his anti-Israel content over the last year, according to a study released in December by the Jewish People Policy Institute (JPPI), which tracked the prominent far-right podcaster’s disproportionate emphasis on attacking the Jewish state in 2025.
In September, for example, the podcaster appeared to blame the Jewish people for the crucifixion of Jesus and suggest Israel was behind the assassination of American conservative activist Charlie Kirk.
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Israel’s High Court sides with egalitarian prayer advocates in long-running Western Wall dispute
(JTA) — Israel’s highest court has delivered a unanimous rebuke to state and municipal authorities over long-stalled plans to upgrade the Western Wall’s egalitarian prayer section, intensifying a dispute that has come to symbolize broader tensions over religious pluralism in Israel.
In a decision issued Thursday, an expanded seven-justice panel of the High Court of Justice ordered the national government and the Jerusalem Municipality to move forward with building permits needed for repairs and infrastructure improvements at the Ezrat Israel prayer platform, the area designated for mixed-gender and non-Orthodox worship south of the main Western Wall plaza.
The ruling imposes strict procedural deadlines aimed at ending what the justices described as years of exceptional delay following a 2016 deal to permit egalitarian prayer at the holy site. Acceding to pressure from haredi Orthodox politicians, Prime Minister Benjamin Netanyahu froze the deal the following year, triggering a legal petition by Judaism’s Reform and Masorti/Conservative movements, Women of the Wall and Israeli religious pluralism advocacy groups.
Today, the groups say, area remains difficult to access, lacks adequate facilities, and does not provide meaningful proximity to the Wall’s stones — conditions they view as discriminatory toward non-Orthodox worshippers.
“For nine years, the state and the municipality have been dragging their feet and refusing to promote an egalitarian, respectful, and accessible alternative in the Ezrat Israel,” Attorneys Ori Narov and Orly Erez-Likhovski, who represent the Reform Movement in Israel, one of the petitioners, said in a statement to Times of Israel. “Now, the court is ordering an end to the foot-dragging.”
The court did not revisit legal questions surrounding prayer rights at the site, emphasizing that the decision focused on the “practical implementation” of matters already litigated. Instead, the justices targeted bureaucratic obstacles that have repeatedly slowed or blocked construction, particularly disputes involving planning approvals and the Israel Antiquities Authority.
The court ruled that existing government approvals are still valid and that any remaining sign-off from the Antiquities Authority must be decided within 14 days, removing key grounds for further delays. After that, the state must file new building permit requests within 14 days. If officials don’t respond within 45 days, it will count as a rejection and the state must appeal. The state and city must also update the court within 90 days.
The decision arrives amid renewed friction at the Western Wall, Judaism’s holiest site and a focal point of Israel’s long-running struggle over religious authority. It also comes just one day after Israeli police detained two leaders of Women of the Wall during the group’s monthly Rosh Chodesh prayer service marking a new Jewish month.
The activists were briefly held after conducting a Torah reading near the site. Women of the Wall, which campaigns for expanded women’s prayer rights, has clashed for years with authorities over practices permitted under non-Orthodox traditions but restricted in the gender-segregated main plaza.
Pluralism advocates hailed the court’s intervention as a significant victory, noting both the unanimity of the decision and the ideological diversity of the judicial panel.
“An expanded panel of the Supreme Court, including conservative jurists, has unanimously ruled that the Government of Israel and the Jerusalem Municipality must put an end to their foot dragging and get to work,” said World Zionist Organization Vice Chairman Yizhar Hess, a senior representative of the Masorti/Conservative movement, in a statement.
Hess accused authorities of maintaining an “endless, creative litany of excuses” to block repairs necessary to ensure direct access to the Wall’s stones at the egalitarian platform. “This is a victory for those who believe in Jewish pluralism in Israel and that every Jew from every stream should have the equal opportunity to pray according to their custom at our holiest site,” he said.
The post Israel’s High Court sides with egalitarian prayer advocates in long-running Western Wall dispute appeared first on The Forward.
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Australian Bar Shut Down for Displaying Posters of Netanyahu, Putin, Trump in Nazi-Like Uniforms
Adolf Hitler in Nuremberg in 1938. Photo: Imperial War Museums.
A live music bar and cafe in Australia was shut down by local police on Wednesday for displaying posters that depict world leaders and others, including Israeli Prime Minister Benjamin Netanyahu and US President Donald Trump, wearing Nazi-like uniforms.
The Dissent Cafe and Bar in Canberra Central said in a Facebook post that ACT Policing, the community policing arm of the Australian Federal Police, shut down the venue for two and a half hours on Wednesday night. Police said they were investigating a complaint about possible hate imagery relating to five posters in the venue’s window display. A scheduled performance at the bar and cafe was also canceled because of the shutdown.
ACT Policing said in a statement on Thursday that it declared the cafe a crime scene and officers would investigate whether there was a breach of new Commonwealth law about hate symbols. Police noted that they asked the venue’s owner to remove the posters and he refused.
“Officers attended the premises and had a discussion with the owner, with officers seeking to remove the posters as part of their investigation into the matter. The owner declined this request and so a crime scene was established,” read the police statement. “Five posters were subsequently seized and will be considered under recently enacted Commonwealth legislation regarding hate symbols.”
The Dissent Cafe and Bar had displayed in its front windows posters depicting Netanyahu, Trump, Russia’s President Vladimir Putin, US Vice President JD Vance and Tesla co-founder Elon Musk in Nazi-like uniforms. The posters were created by the artist group Grow Up Art and underneath them were signs in the window that said “Sanction Israel” and “Stop Genocide.” Grow Up Art displayed the same images as part of a billboard poster campaign last summer and they are also sold on t-shirts. The artist group nicknamed the men in the posters collectively as “The Turd Reich,” a play on the Third Reich, the name for the Nazi dictatorship in Germany under Adolf Hitler’s rule.
Dissent Cafe and Bar has defended the artwork, saying it is “clearly and obviously parody art with a distinct anti fascist [sic] message.”
“In what is obviously harassment the ACT police have declared a crime scene at Dissent and tonight’s gig is unfortunately canceled,” Dissent Cafe and Bar wrote on Facebook when the closure happened on Wednesday.
The posters have since been placed back in the windows of the live music bar, but the images are now covered with the word “CENSORED” in red. ACT Policing said on Thursday they are still investigating the posters and are also “seeking legal advice on their legality.”
“ACT Policing remains committed to ensuring that alleged antisemitic, racist, and hate incidents are addressed promptly and thoroughly, and when possible criminality is identified, ACT Policing will not hesitate to take appropriate action,” police added.