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7 Jewish highlights from the new Museum of Broadway
(New York Jewish Week) — There’s a reliably funny Twitter account called @JewWhoHasItAll, which imagines a universe where nearly everyone is Jewish and those who aren’t are the outliers.
That’s the sensation I got on a visit to the Museum of Broadway, which opened last month. A three-story tribute to the Theater District located in its very heart, it is organized around a series of rooms dedicated to landmark musicals and plays, and the majority bear the stamp of Jewish creators: Jerome Kern and Oscar Hammerstein’s “Showboat,” Richard Rodgers and Hammerstein’s “Oklahoma!”, Leonard Bernstein’s “West Side Story,” Stephen Sondheim’s “Company,” Tony Kushner’s “Angels in America.”
Other projects dedicated to the history of Broadway aren’t shy about noting the over-representation of Jews in the business. “Broadway Musicals: A Jewish Legacy,” a documentary that seems to run on a nearly endless loop on my local PBS station, notes that “over the [first] 50-year period of its development, the songs of the Broadway musical were created almost exclusively by Jewish Americans.”
If the Museum of Broadway acknowledges this, I didn’t notice. Some might take this as an omission or a snub, the way critics objected when a new museum about the history of Hollywood initially overlooked the essential Jewish contribution to the movie business. But in this case, the Jewishness of Broadway is taken as a given. You’d have to be culturally illiterate not to notice how many of the most celebrated creators are Jewish: In addition to the musical tributes, there are wall placards singling out the contributions of Sondheim and the director Harold Prince, a corner devoted to “Fiddler on the Roof” and a gallery celebrating Joe Papp (born Joseph Papirofsky) and his Public Theater, that reliable pipeline of breakthrough Broadway shows.
(There were, however, frequent mentions of the specifically African-American contributions to Broadway. That seemed a deliberate attempt to counter perceptions that Broadway is indeed the “Great White Way.”)
The museum, whose opening was delayed by the pandemic, is a collaboration with Playbill, Broadway Cares/Equity Fights AIDS (which is supported by a portion of the stiff $39 admission charge), the Al Hirschfeld Foundation, Concord Theatricals and Goodspeed Musicals. Its approach is chronological, with a timeline that pulls visitors from room to room, from vaudeville, through Broadway’s “Golden Age” and up to the present. Original costumes and props are on display in Instagram-ready settings that resemble the original sets for various shows.
Among the paraphernalia and stagecraft are a number of Jewish highlights. Here are seven:
A whirligig of Rodgers and Hammerstein musicals
A sample of Rodgers and Hammerstein musicals, on display at the Museum of Broadway. (NYJW)
Just past the cornstalks celebrating the ground-breaking 1943 musical “Oklahoma!” is a wall display showcasing the duo’s most important collaborations, including “Carousel,” “South Pacific,” “The King and I,” “Flower Drum Song” and “The Sound of Music.” Rodgers, working with Hammerstein and before him Lorenz Hart, wrote more than 900 songs and 41 Broadway musicals. Combine that with Hammerstein’s work with Kern, and it is hard to imagine two more important figures in the history of musical comedy.
Jerome Robbins’ notes on “West Side Story”
Choreographer Jerome Robbins suggested a “seder” scene in an early conception of what became “West Side Story.” (NYJW)
Look closely at this list of proposed scenes for a musical based on “Romeo and Juliet” and you’ll see the word “seder.” Robbins, the choreographer, originally proposed that the show focus on a star-crossed love story between a Jewish girl and an Irish boy, but he and his fellow Jewish collaborators — composer Leonard Bernstein, lyricist Stephen Sondheim and playwright Arthur Laurents — soon felt the interfaith idea had already been exhausted in plays like “Abie’s Irish Rose.” When the show premiered in 1957, the gangs were Puerto Rican and a medley of ethnic whites.
Florence Klotz’s costume “bible”
Florence Klotz won six Tony Awards for her costume designs. (NYJW)
Costume designer Florence Klotz frequently collaborated with Prince and Sondheim. The museum displays her sketches for Sondheim’s “Follies” and “A Little Night Music.” Born in Brooklyn, Klotz would win six Tony awards. She died in 2006. The museum also includes an entire floor dedicated to the “backstage” talent: costume and set designers, stage managers, prop masters and writers.
A shrine to “Company”
A display at the Museum of Broadway celebrates a recent revival of “Company.” (NYJW)
Sondheim and Prince emerge as the museum’s lodestars. “Their intense and fruitful partnership and their creative trailblazing in [the 1970s] resulted in an extraordinary artistic innovation and a slew of provocative new works,” a wall card proclaims. “Company” (1970) was a largely plotless exploration of urban anomie. The museum calls it a “frank, even painful look at modern life,” perfectly attuned to the upper-middle class theatergoers who, it says, are the “backbone” of the Broadway audience. It’s the show people love or hate if they love or hate Sondheim. The “Company” exhibit includes photos of the original cast and spare set, and a backdrop that draws on the recent gender-bending revival.
A tribute to Joseph Papp
Costumes from productions that originated at Joseph Papp’s Public Theater on display at the Museum of Broadway. (NYJW)
Joe Papp flipped the script on how shows made it to Broadway: His Public Theater produced edgy off-Broadway plays that drew audiences downtown, and then successfully transferred that same buzz to the “Big Stem.” Papp, a son of Yiddish-speaking parents who grew up in a Brooklyn slum, founded the New York Shakespeare Festival. A section of the museum includes costumes and posters from important productions that originated at The Public — including wildly popular revivals of “The Pirates of Penzance” and “The Threepenny Opera” — and a dress Meryl Streep wore in her Broadway debut, in “Trelawny of the ‘Wells.’” Two other musicals developed at The Public — “Hair” and “A Chorus Line” — get their own tribute rooms.
Al Hirschfeld’s barber chair
A room at the Museum of Broadway includes works by the famed caricaturist Al Hirschfeld. (NYJW)
The museum has an entire gallery dedicated to the work of artist Al Hirschfeld and his caricatures of Broadway stars and productions from 1923-2001. His pen-and-ink drawings were a visual shorthand for “Broadway,” and it would sometimes seem that the stars he drew would come to resemble his drawings, not the other way around. The museum includes his wonderfully kooky Barbra Streisand in “Funny Girl” and a bearish, brooding Zero Mostel as Tevye. On display is a barber chair similar to the one he used in his studio (the original had fallen apart by the 1990s).
A stage set from “The Producers”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
You can sit behind a desk and pretend you are Broadway producer Max Bialystock, who was played by Nathan Lane in the phenomenally successful 2001 musical adaptation of Mel Brooks’ 1967 film about the worst musical ever staged for Broadway. The display is a reminder of the impact of the show, and not only on ticket prices: It proved the viability of adapting movies for Broadway, and earned a record-setting 12 Tony Awards. The museum calls the musical, with its tap-dancing Nazis and sweet and conniving Jewish protagonists, a “glittering homage to Broadway’s past” — a past that is unmistakably Jewish.
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Global Court Decisions Spark Outrage as Antisemitic Crimes, Attacks See Reduced Sentences
Pro-Hamas demonstrators marching in Munich, Germany. Photo: Reuters/Alexander Pohl
Court rulings around the globe are raising alarm bells as judges in Germany, Australia, and France have overturned or reduced sentences for individuals accused of antisemitic crimes, sparking public outrage over the leniency shown in such cases.
For the first time, a local court in Germany has allowed antisemitic slogans calling for Israel’s destruction and denying its right to exist to be chanted at a pro-Palestinian demonstration, despite concerns that such calls incite hatred and violence, according to the German newspaper Bild.
The Higher Administrative Court in Münster, a city in North Rhine-Westphalia in western Germany, issued an expedited ruling overturning a previous ban that had restricted protests to prevent participants from disrupting public order and inciting violence.
The ruling came after local police had imposed restrictions on an anti-Israel demonstration scheduled for Saturday in Düsseldorf, a city that had drawn more than 5,000 registered participants.
Prior to the protest, local law enforcement had prohibited demonstrators from chanting slogans that deny Israel’s right to exist and promote hatred — including “From the river to the sea, Palestine will be free,” “There is only one state: Palestine 48,” and “Yalla, yalla, Intifada!” The first two slogans call for the Jewish state’s complete destruction, to be replaced by “Palestine,” and the third phrase calls for violence against Jews and Israelis.
However, the court ruled that “denying the State of Israel’s right to exist does not in itself constitute a criminal offense.”
Instead, the court emphasized that “a critical examination of the founding of the State of Israel and the call for a peaceful change of the existing conditions” is protected under the right to freedom of expression.
With this ruling, the ban on “There is only one state: Palestine 48” was lifted, even though the slogan calls for the annihilation of Israel, established in 1948.
But “Yalla, yalla, Intifada” and “From the river to the sea” will remain banned, the first for its potential to incite violence and the second as a slogan associated with the Palestinian terrorist group Hamas.
In a separate and controversial ruling thousands of miles away, a man who set fire to a synagogue in Melbourne while worshippers were inside received a lenient sentence after an Australian court ruled that his actions were the result of mental illness rather than antisemitism.
On Monday, an Australian magistrate ruled that 35-year-old Angelo Loras was not driven by antisemitism but by a severe psychotic episode caused by his failure to take schizophrenia medication when he set fire to a local synagogue, with more than 20 worshippers inside sharing a Shabbat meal.
Earlier this year, Loras pleaded guilty to arson and recklessly endangering lives after pouring flammable liquid on the front door of the East Melbourne Synagogue and setting it alight, though no one was injured. This attack was one of three suspected antisemitic incidents across Melbourne over the weekend of July 4–6.
At the time, government officials and Jewish leaders denounced the attack as a clear hate crime.
With this ruling, Loras was given a four-month prison sentence — less than the 138 days he had already spent in custody — and was also ordered to continue schizophrenia treatment for 20 months and perform unpaid work. He will be eligible for release on Monday.
Meanwhile, a local court in France has dramatically reduced the sentence of one of the two teenagers convicted of the brutal gang rape of a 12-year-old Jewish girl, citing his “need to prepare for future reintegration.”
More than a year after the attack, the Versailles Court of Appeal retried one of the convicted boys — the only one to challenge his sentence — behind closed doors, ultimately reducing his term from nine to seven years and imposing an educational measure
The original sentences, handed down in June, gave the two boys — who were 13 years old at the time of the incident — seven and nine years in prison, respectively, after they were convicted on charges of group rape, physical violence, and death threats aggravated by antisemitic hatred.
The third boy involved in the attack, the girl’s ex-boyfriend, was accused of threatening her and orchestrating the attack, also motivated by racist prejudice.
Because the girl’s ex-boyfriend was under 13 at the time of the attack, he did not face prison and was instead sentenced to five years in an educational facility.
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New X Policy Reveals Foreign Locations of Anti-Israel Propagandists Spreading Gaza Disinformation
A 3D-printed miniature model of Elon Musk and the X logo are seen in this illustration taken Jan. 23, 2025. Photo: REUTERS/Dado Ruvic/Illustration
Billionaire Elon Musk’s social media platform X over the weekend implemented a new feature revealing the locations behind all accounts, exposing that many individuals claiming to report from Gaza lived in other countries while some popular right-wing American accounts who had promoted patriotism and loyalty to US President Donald Trump actually resided overseas.
“The. Gaza. Lie. Exposed. New X feature ripped mask off countless fake ‘Gazan’ accounts,” Israel’s Foreign Ministry posted on X on Sunday. “Some chap posting from Pakistan, another in London. Another manipulative abuser somewhere else. All claiming to be suffering in Gaza while in the comfort of some coffee shop far away.”
The Foreign Ministry said that X’s decision to test the feature showing an account’s physical location “is to be praised & encouraged. Freedom of speech is a core principle. So is transparency & accountability. The ‘citizen-journalist’ on social media also needs to meet certain minimum standards. Kudos X.”
In a follow-up post, the Foreign Ministry gave an example with a screenshot of journalist Motasem A Dalloul’s account, writing, “196,900 followers being lied to by fake ‘journalist’ claiming to be in Gaza. New @X feature reveals his actual location is Poland. Reporting from Gaza is fake & not reliable. Makes you wonder how many more fake reports have you read?”
The New York Post identified multiple Gaza-associated accounts who X now revealed as based in India, the United Kingdom, or the West Bank.
On Saturday, journalist Eitan Fischberger began identifying X accounts he described as “subverting the US by flooding X with anti-American, anti-Israel, demoralizing, or Marxist content aimed specifically at Americans. Several of them pose as Americans. But now the jig is up.” He then featured accounts located in North Africa, India, Serbia, Turkey, Norway, and Saudi Arabia.
Here’s a thread of prominent accounts that have been subverting the US by flooding X with anti-American, anti-Israel, demoralizing, or Marxist content aimed specifically at Americans.
Several of them pose as Americans. But now the jig is up.
Add more examples in the comments
pic.twitter.com/M1H6y0dG90
— Eitan Fischberger (@EFischberger) November 22, 2025
Pirate Wires also reported on Gaza-based content coming out of Egypt, North Africa, Indonesia, and Canada.
Nikita Bier, X’s head of product, had described the change as “an important first step to securing the integrity of the global town square. We plan to provide many more ways for users to verify the authenticity of the content they see on X.”
Some users protested the location displayed with their account was inaccurate, with X admitting as much in some cases. In one instance, the account for the US Department of Homeland Security stated its origin in Tel Aviv, prompting an official statement denying the connection.
Business Insider reported that X account MAGA NATION, a supporter of Trump that proclaims itself “America First” and has collected 400,000 followers, is based in Eastern Europe. NBC News found pro-Trump accounts based in Africa, Macedonia, and South Asia. Pirate Wires described conservative American content as originating in Bangladesh, Pakistan, Thailand, Nigeria, and Papua New Guinea.
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US Justice Department Launches Probe Into Anti-Israel Mob Targeting New York City Synagogue
Nov. 19, 2025, New York, New York, USA: Anti-Israel protesters rally outside of Park East Synagogue. Photo: ZUMA Press Wire via Reuters Connect
The US Justice Department has started an investigation into a gathering of demonstrators who called for violence against Jews outside a prominent New York City synagogue last Wednesday night, according to a senior official.
“Investigation is underway. [The Justice Department] has zero tolerance for violence/obstruction around any American house of worship,” Harmeet Dhillon, assistant attorney general for civil rights at the department, announced on social media on Sunday.
Investigation is underway. @TheJusticeDept has zero tolerance for violence/obstruction around any American house of worship. https://t.co/rEEFAifj6n
— AAGHarmeetDhillon (@AAGDhillon) November 23, 2025
Dhillon’s comments came amid ongoing furor over last week’s protest, where demonstrators harassed those attending an event being held by Nefesh B’Nefesh, a Zionist organization that helps Jews immigrate to Israel, at Park East Synagogue in Manhattan.
Protesters were recorded screaming obscenities to event attendees and blocking the entrance into the synagogue.
“We don’t want no Zionists here!” the group of roughly 200 anti-Israel activists chanted in intervals while waving the Palestinian flag. “Resistance, you make us proud, take another settler out.”
One protester, addressing the crowd, reportedly proclaimed, “It is our duty to make them think twice before holding these events! We need to make them scared.”
Footage on social media also showed agitators chanting “death to the IDF,” referring to the Israel Defense Forces, as well as “globalize the intifada” and “intifada revolution.”
Community figures described the scene as openly threatening and a stark escalation of anti-Jewish hostility in New York City.
“It’s a federal crime to block access to a house of worship in the US. @CivilRights under @AGPamBondi will NOT tolerate it and we are gathering information about this incident!” Dhillon posted on X/Twitter on Friday, two days before announcing the department was investigating the incident.
Jessica Tisch, commissioner of the New York City Police Department (NYPD), addressed the demonstration while speaking to Park East Synagogue on Saturday. Tisch, who is Jewish, cited the demonstrators’ rights to assemble, protest, and speak freely but also apologized for allowing “turmoil” to take place.
“People have the right to protest, including within sight and sound of a house of worship. They have the right to say things that are incredibly painful to hear. I understand that pain, deeply and personally,” Tisch said. “But the right to say those things is protected by the First Amendment, and the NYPD must uphold that right.”
“Our other job that night was to ensure that people could easily enter and leave shul. That is where we fell short. And for that, I apologize to this congregation,” she added, noting that police should have set up a “frozen zone” at the synagogue’s entrance. Because one was not set up, she said, “the space right outside your steps was chaotic.”
“You deserved an NYPD posture that recognized the sensitivity of this location, the climate we’re living in, and the heightened fear within our community,” Tisch told the congregation. “Instead, you had turmoil.”
New York City has experienced a historic surge in anti-Jewish hate crimes over the last two years, following the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
Since entering the White House in January, the Trump administration has vowed to crack down on antisemitism, making it a priority of federal law enforcement.
Zohran Mamdani, who was elected New York City’s next mayor earlier this month, issued a statement that “discouraged” the extreme rhetoric used by the protesters on Wednesday night but did not unequivocally condemn the harassment of Jews outside their own house of worship. Mamdani’s office notably also criticized the synagogue, with his team describing the event inside as a “violation of international law,” an allegation apparently referencing Israel’s settlement policies in the West Bank.
“The mayor-elect has discouraged the language used at last night’s protest and will continue to do so,” Mamdani spokesperson Dora Pekec said in a statement on Thursday. “He believes every New Yorker should be free to enter a house of worship without intimidation, and that these sacred spaces should not be used to promote activities in violation of international law.”
Jewish leaders reacted with disappointment, arguing that Mamdani effectively provided political justification for a protest that targeted Jews for participating in a mainstream, fully legal pro-Israel program. Critics said the mayor-elect’s framing implied that the synagogue’s event, not the threatening chants outside, was the real problem, a position they described as deeply irresponsible amid rising antisemitism in the city.
During his short tenure in the state assembly as a lawmaker, Mamdani spearheaded a series of efforts to marginalize and penalize organizations with ties to Israel, spiking fears that the incoming mayor might weaponize the government against the city’s Jewish population. Mamdani is an outspoken supporter of the boycott, divestment, and sanctions (BDS) movement, which seeks to isolate Israel from the international community as a step toward its eventual elimination.
Mamdani also defended the phrase “globalize the intifada” — which references previous periods of sustained Palestinian terrorism against Jews and Israelis and has been widely interpreted as a call to expand political violence — by invoking the Warsaw Ghetto Uprising during World War II.