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‘Parade’ and ‘Leopoldstadt’ each nab 6 Tony nominations in a big year for Jewish Broadway
(JTA) — Shows about the Holocaust and a notorious American antisemitic incident picked up several Tony Award nominations Tuesday morning, as Broadway’s biggest honors made room for a sizable Jewish presence.
Most notably, a revival of the 1998 musical “Parade,” starring Ben Platt as the early-20th-century Jewish lynching victim Leo Frank, scored six nominations, including best revival of a musical and a best actor nod for Platt. Jewish lead actress Micaela Diamond also scored a nomination for playing Leo’s wife Lucille, causing awards presenter Lea Michele to squeal with glee (pun intended) as she read Diamond’s name at the livestreamed nominations ceremony Tuesday morning.
Arriving during a heightened moment of national awareness about antisemitism, “Parade” attracted notice early in its Broadway run when a performance was picketed by neo-Nazis. That incident led to an outpouring of support from Broadway’s Jewish community. Platt himself arrived at last night’s Met Gala wearing a Star of David necklace, further driving home the show’s message.
A view of the cast of “Leopoldstadt,” which focuses on multiple generations of a Viennese Jewish family. (Joan Marcus)
“Leopoldstadt,” Tom Stoppard’s epic, highly personal play about multiple generations of a Jewish Viennese family before, during and after the Holocaust, also received six nominations, including an expected nod for best play. Brandon Uranowitz also earned a nod for best actor in a featured role in a play, and Patrick Marber scored a best direction nomination; both are Jewish.
Oscar Isaac plays the titular character in a revival of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” at the BAM Harvey Theater in Brooklyn, N.Y. (Julieta Cervantes)
Signs were more mixed for another high-profile Jewish production, “The Sign In Sidney Brustein’s Window,” which eked out two nominations, including best revival of a play. The show, first written by Lorraine Hansberry in 1964 shortly before her death, follows a Jewish bohemian grappling with political and social change in Greenwich Village. It had not been staged on Broadway since its initial run. Neither of its A-list stars, Oscar Isaac and Rachel Brosnahan, earned acting nominations, though Miriam Silverman did receive the show’s lone other nomination for her featured role as Isaac’s character’s sister-in-law — who is casually antisemitic.
Besides “Parade,” the musical revival category was dominated by shows with Jewish roots. Also nominated was a new version of the 1960 classic “Camelot,” billed as “Lerner & Loewe’s Camelot” in recognition of the two Jewish Broadway scribes who crafted the initial production, Alan Jay Lerner and Frederick Loewe. Written by Aaron Sorkin, who is Jewish, and directed by Bartlett Sher, who learned as a teenager that his father was Jewish, the new “Camelot” had five nominations in total.
Two reinterpretations of Stephen Sondheim standards, “Into The Woods” and “Sweeney Todd: The Demon Barber of Fleet Street,” rounded out the category. The pop singer Josh Groban, whose father was Jewish before converting to his mother’s Christianity, was nominated for playing the lead role in “Sweeney Todd,” while Julia Lester, whose great-grandfather was part of a Yiddish theater in Poland, was nominated for her featured role in “Into the Woods.”
The play “Good Night, Oscar,” about the Jewish entertainer Oscar Levant’s struggles with mental illness, picked up three nominations, including for lead actors Sean Hayes and Rachel Hauck. “Death of a Salesman,” a new revival of the classic play by Jewish playwright Arthur Miller, also picked up two nominations.
Jewish actress Jessica Hecht picked up an acting nomination for her lead role in the play “Summer, 1976,” about a lifelong friendship between two women. Hecht is up against several star performers in the category, including Jessica Chastain, Jodie Comer and Audra McDonald.
Among the other nominees was a modern-day musical reimagining of “Some Like It Hot,” the 1959 cross-dressing comedy. The original movie had plenty of Jewish talent: It was directed by Billy Wilder, co-starred Tony Curtis and Jewish convert Marilyn Monroe, and featured recently deceased Jewish character actor Nehemiah Persoff in a small role. The new musical, by Amber Ruffin and Matthew López, led the pack with 13 Tony nominations including best new musical. Veteran Jewish songwriter Marc Shaiman picked up a nomination for co-writing the show’s score.
Another new musical based on a movie, “New York, New York,” also built off of Jewish talent: the songwriting duo John Kander and Fred Ebb wrote the music for the original 1977 film, and Kander is co-credited with Lin-Manuel Miranda for additional music on the new film. “New York, New York” received nine nominations, including best new musical.
The prolific Jewish theater composer Jeanine Tesori had another Broadway hit this year with the musical “Kimberly Akimbo,” which received eight nominations, including one for her music.
The nominations were co-announced Tuesday morning by Michele, who has been the talk of Broadway since she replaced Beanie Feldstein as the lead of the “Funny Girl” revival. Feldstein was snubbed at the Tonys last year amid tepid reviews for her performance in the musical about Jewish comedienne Fanny Brice.
The Tonys will air on CBS and various Paramount-owned streaming services on June 11.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
The post VIDEO: A Hasid gives us a tour of Morocco in Yiddish appeared first on The Forward.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
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