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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.


The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.

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Armed attacker arrested after lunging at Ohio Jewish gubernatorial candidate Amy Acton

(JTA) — Ohio gubernatorial candidate Amy Acton, a Jewish Democrat, was unharmed following an attack by an armed individual at the sprawling Canfield Fair on Sunday.

Police arrested 38-year-old Patrick Havas, who had pushed his way through a crowd in a Democratic Party fairgrounds tent where she was speaking, the Mahoning County Sheriff’s Office announced on Sunday evening.

“While attending the Canfield Fair, an armed individual lunged at Dr. Acton, injuring multiple people,” Addie Bullock, communications director for the Acton campaign, said in a statement.

“This kind of violence has no place in Ohio,” Bullock added. “Dr. Acton will always stand up to the chaos, hate and vitriol that pits us against one another.”

Acton, who would be Ohio’s first Jewish governor if elected, is a former director of the Ohio Department of Health and completed residencies in both pediatrics and preventative medicine.

Republican Vivek Ramaswamy, Acton’s opponent in the upcoming election,  released a statement condemning the attack on Sunday. His communications director, Connie Luck, stressed that “candidates should be able to meet with voters without having to worry about threats or violence.”

“What happened today is completely unacceptable and has no place in politics, and we hope that no one was hurt,” she added.

Havas had at first entered the fairgrounds tent and began recording Acton’s speech on his cell phone, but when he began pushing, Ohio State Highway Patrol troopers confronted him, according to the sheriff’s office. During the confrontation, two people were knocked to the ground and Havas was taken into custody by Canfield Fair police.

Following Havas’s arrest, police said they found two handguns and a set of brass knuckles in his possession, although no weapons were ever brandished or removed from their holsters.

Detectives on Sunday night added that they’d be continuing the investigation and would be filing charges after consulting with the Mahoning County Prosecutor.

The Canfield Fair, established in 1846, describes itself as the third-largest county fair nationwide. The fairgrounds, located about 75 miles southeast of Cleveland, sits on 353 acres of land and houses more than 60 buildings.

This article originally appeared on JTA.org.

The post Armed attacker arrested after lunging at Ohio Jewish gubernatorial candidate Amy Acton appeared first on The Forward.

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Far-right win in Germany regional race sends shockwaves through Europe

(JTA) — A victory for Germany’s far-right party in an eastern federal state has reverberated across the globe, exposing the widening rifts between alarmed centrist leaders and insurgent nationalist movements in Europe.

The Alternative for Germany (AfD) party won 43.8% of the vote in an election in Saxony-Anhalt on Sunday, crushing the center-right Christian Democratic Union (CDU), German Chancellor Friedrich Merz’s party, which held 17.2% support, according to preliminary figures.

The AfD is now heading toward 39 seats in Saxony-Anhalt’s 83-seat state parliament. It’s expected to fall 3 seats short of an outright majority, leaving open the question of whether it can form Germany’s first far-right state government since World War II. The party has proposed a sweeping nationalist agenda that includes deporting immigrants, defunding “anti-German art” and teaching children less about the country’s Nazi past.

Merz told reporters in Berlin on Monday he was “deeply shocked” and “unsettled” by the results, which he said rippled through the rest of the country and the world. He added that it was impossible for Germany to “go back to business as usual” after so many voters in Saxony-Anhalt chose a party that “questions the democratic institutions in our country.”

The results dealt the CDU its “most severe defeat” in decades, conceded Merz, who leads the party once headed by former German Chancellor Angela Merkel.

Merz said that he was searching for answers to “why far-right populism and far-right extremism was able to rise in such a rapid manner,” suggesting that his party may have underestimated the “fears of our population” amid economic crises and rapid technological change. He said that minorities in Saxony-Anhalt would be particularly vulnerable under an AfD government, but noted that the state would still have obligations to follow federal law, including regarding immigration policy.

Merz also directed his message to the rest of Europe, saying that Germany had a “special responsibility because of its history” to keep its political order “deeply anchored in Europe.”

Despite the scale of the CDU’s defeat in Saxony-Anhalt, Merz ruled out stepping down, saying, “Giving up is not an option.”

Though Saxony-Anhalt is one of Germany’s smallest regions, home to some 1.7 million voters, its election results quickly sent shockwaves through other European countries whose leaders, like Merz, are fighting to fend off far-right, anti-immigrant parties in national elections next year.

French Europe Minister Benjamin Haddad called the AfD’s regional win a “grave moment in Europe” and said that “nationalism and xenophobia will never be a solution.”

“We cannot forget our history,” said Haddad, an ally of centrist President Emmanuel Macron. “That is the meaning of the choices made by France and Germany.”

France’s government faces its own fears of a right-wing populist wave. Marine Le Pen, the head of the far-right National Rally, has dwarfed all other candidates in polls heading into France’s presidential election in 2027, when term limits force Macron to step down.

Across the Channel, British Chief Secretary to the Treasury Emma Reynolds said in an interview on Times Radio that the U.K.’s Labour government “will not be reaching out to a right-wing populist party.” She added that she put the AfD in “the same political bracket” as Reform UK, the far-right party that surged in local elections earlier this year.

Polish Prime Minister Donald Tusk also condemned the AfD’s victory. The far-right party has alarmed Poland, Ukraine’s neighbor, with its pro-Russia stance, as it seeks to halt Germany’s military aid to Ukraine and sanctions against Russia.

“In Poland, only idiots or traitors can rejoice at the triumph of the AfD in Germany,” said Tusk.

Meanwhile, the AfD was cheered by nationalist, anti-immigration party leaders in Spain, Portugal and the Netherlands, all of whom have sought to capitalize on economic and social grievances similar to those that contributed to the AfD’s victory Sunday.

Santiago Abascal, the head of Spain’s far-right Vox party, called the result “a great hope for Germany and for Europe.”

André Ventura, the founder of Portugal’s far-right Chega party, said that “the Germans too are opening their eyes against illegal and uncontrolled immigration, corruption, and the capture of our freedom and identity.”

And in the Netherlands, the AfD received a “Congratulations” from the far-right Party for Freedom’s leader, Geert Wilders.

While President Donald Trump has yet to officially respond to the Saxony-Anhalt election, he posted a screenshot of the results without comment on his Truth Social account Sunday night.

Trump’s post was shared by Kirill Dmitriev, a Russian presidential envoy and businessman, who said the AfD scored a “historic win” that would “put migration under control.”

Elon Musk, the billionaire and former Trump adviser who campaigned for the AfD last year, gave his support to the national party leader Alice Weidel on X, which he owns, writing “Well done” in German.

Ulrich Siegmund, the AfD’s candidate in Saxony-Anhalt who hopes to become the state premier, responded by praising Musk.

“Thank you, @elonmusk, for your support and for your clear and highly important perspective on the political developments of our time — including here in Germany,” he wrote.

This article originally appeared on JTA.org.

The post Far-right win in Germany regional race sends shockwaves through Europe appeared first on The Forward.

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How synagogues and Southern Jews came to mourn Robert E. Lee

In October 1870, mourning covered New Orleans.

The doors of the St. Charles Theater and Academy of Music were draped following the death of Robert E. Lee. Along St. Charles Street, saloons displayed signs of grief. Black and white cloth appeared on private homes, stores, banks and warehouses. The New-Orleans Weekly Times reported that “the rich and the poor vied with each other in their outward manifestations of grief.”

On Carondelet Street, the synagogue was draped too. Here at the Congregation Dispersed of Judah, the main door “presented a cloud of white and black draping.” Inside, the congregation’s spiritual leader, Rabbi Henry S. Jacobs, delivered a eulogy for Lee. He turned to Zechariah 11:2 and compared the dead Confederate general to a fallen cedar.

In Galveston, Texas, another Southern Jewish congregation went further. At what a newspaper described as an “Orthodox congregation of Israelites,” a prayer was offered for Lee’s soul. It asked God, “who resteth in the highest heavens,” to grant Lee rest beneath the wings of divine providence.

“We pray to the Almighty that He shall keep him under His wings forever,” the congregation prayed, so that “at the resurrection” Lee’s soul would be among those “prepared to live again.”

The synagogue memorials were not isolated expressions of grief. Many Southern Jews had supported the Confederacy, served in its army and shared their neighbors’ admiration for Lee. Lee had also developed a reputation among Jewish soldiers for respecting their religious practice during the war. Their mourning reflected both a Jewish community deeply embedded in the society around it and a particular memory of Lee that would endure for generations.

Fighting for the Confederacy, observing Yom Kippur 

For Jewish soldiers, loyalty to the Confederacy and religious observance could exist side by side. Confederate officers sometimes accommodated those needs, and Lee himself corresponded with a Richmond rabbi about allowing Jewish soldiers to observe their holidays.

In September 1861, around 40 Jewish soldiers stationed at a Confederate army camp in Pensacola, Florida, received permission from General Braxton Bragg to observe the Day of Atonement. Newspapers across the South reported that as the soldiers prayed “to the God of their fathers,” they “forgot not the Government for which they have taken up arms.”

That same year, Rabbi Maximilian J. Michelbacher of Richmond reminded Jewish soldiers that Rosh Hashanah and Yom Kippur were approaching. A Richmond correspondent estimated that thousands of Jews were serving in Virginia and wrote that “no class of our citizens have responded more liberally to the treasury and army of the Confederacy than the Southern Jews.”

Michelbacher also corresponded with Lee about allowing Jewish soldiers time away from the army for religious observance.

In 1864, he asked that Jewish soldiers be allowed to return to Richmond for the High Holidays. Lee declined to grant a general furlough but told the rabbi that he would “gladly do all in my power to facilitate the observance of the duties of their religion by the Israelites in the Army.”

Individual applications, he said, could be approved when circumstances allowed.

An account recorded in the 1887 work Christ in the Camp: Or Religion in the Confederate Army by Reverend J. William Jones, a Southern Baptist minister and Confederate chaplain, described a captain rejecting a Jewish soldier’s request to attend religious services. The captain wrote that if such applications were approved, “the whole army would turn Jews or Shaking Quakers.”

Lee overruled the decision. He returned the request with advice that the captain “should always respect the religious views and feelings of others.”

In 1870, Lee visited Norfolk, Virginia. Among those who came to see him was Emanuel J. Myers, an 89-year-old Jew who had served under Napoleon I and received the French Legion of Honor.

A report in The Israelite, a Cincinnati Jewish newspaper, described Myers approaching with a “full flowing, snow beard,” his medal shining on his breast. The old soldier greeted Lee with “a hearty shake of a soldier’s hand.”

The newspaper called Lee the “brave hero” and “great chieftain.”

The Almighty, the reporter said, had allowed Myers to live long enough to “grasp the hand of one whom we all delight to honor.”

Lee died five months later.

Remembering Lee as a friend to the Jews

Decades later, Lee was still being invoked as a symbol of religious tolerance.

In 1914, Rabbi Henry Barnston of Temple Beth Israel in Houston referenced Lee’s defense of a Jewish soldier’s religious observance while speaking about the persistence of intolerance. Others used the story similarly. In 1922, The American Israelite put it on its front page beneath a simple headline: “General Lee Respected the Jews.” Four years later, Vanderbilt University professor Edwin Mims invoked Lee while arguing against religious bigotry. His words, Mims said, “ought to ring out in America today.”

Nor were these accounts confined to the South. A story about Lee’s respect for Jews appeared in The Wisconsin Jewish Chronicle in 1928. In 1930, University of Wisconsin president Glenn Frank spoke about it at a memorial for Lee while condemning intolerance in the South. “You cannot fight for even one hour in the ranks of intolerance,” Frank said, “without turning traitor to the memory of the great Lee.”

The story took on new meaning after the October 1958 bombing of The Temple in Atlanta. The explosion tore through the synagogue building after Rabbi Jacob Rothschild had become an outspoken supporter of civil rights. One person claiming responsibility invoked a “Confederate Underground.”

In an op-ed published afterward in The Arizona Post and other outlets, David Schwartz, a writer with the Jewish Telegraphic Agency, remembered the long history of Jews in Georgia and returned to the story of Lee defending a Jewish soldier’s religious observance.

“I don’t think Robert E. Lee would have liked to be associated with them,” he wrote, referring to the self-described “Confederate Underground” that claimed responsibility for the bombing.

Back in 1870, the synagogue memorials in New Orleans and Galveston had been part of a much wider response to Lee’s death. In Memphis, a newspaper remarked on the range of people who joined the city’s funeral procession, including Northerners, immigrants and “Hebrews,” writing that “none were found to show disrespect or even indifference.”

As plans emerged for an equestrian monument to Lee in Richmond, organizers proposed that on memorial days throughout the South, “every congregation, Christian and Hebrew,” make a contribution. The statue, erected in 1890, stood until 2021.

The post How synagogues and Southern Jews came to mourn Robert E. Lee appeared first on The Forward.

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