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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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Ran Gvili, Final Hostage Returned From Gaza, Laid to Rest in Emotional Funeral
A convoy carrying the remains of the last hostage to be retrieved from Gaza, Ran Gvili, an off-duty police officer who was killed fighting Palestinian terrorists who had infiltrated Israel during the deadly Oct. 7, 2023, attack by Hamas, makes its way to his funeral, in Ramla, Israel, Jan. 28, 2026. Photo: REUTERS/Nir Elias
Israeli police officer Ran Gvili, the last hostage to be returned home after 843 days in captivity in Gaza, was laid to rest on Wednesday in Meitar, his hometown in southern Israel, as family members, government officials, security forces, and other mourners gathered to pay their final respects.
At the Shur Camp near Beit Shemesh in central Israel, an honor procession was held as Gvili’s coffin departed the military base.
The main memorial service later took place in an open field near the Meitar sports complex, drawing more than 2,000 attendees and thousands more who followed the ceremony on outdoor screens, as his family and several Israeli leaders delivered remarks in his memory.
“I want to tell you, Ran, that the hope that you could return to us standing, or even on just one leg, was what gave us the strength to get through this time,” Gvili’s mother, Taliq, said during the ceremony.
“I want to assure you that, because of you, all of Israel has been reminded that, despite our differences, we are one united and strong people. You went out to protect everyone, and all of us are worthy of your sacrifice,” she continued.
The Israel Defense Forces (IDF) spent months conducting Operation “Valiant Heart” to locate Gvili’s remains in Gaza, where his dead body was taken and held hostage by Hamas-led Palestinian terrorists during their Oct. 7, 2023, invasion of and massacre across southern Israel.
About a month ago, the Shin Bet — Israel’s internal security agency — carried out a special operation in southern Gaza City, detaining a Palestinian Islamic Jihad operative whose interrogation confirmed that Gvili was buried in Al-Batsh Cemetery in the Saja’iya neighborhood of northern Gaza.
During Wednesday’s ceremony, Gvili’s father, Itzik, also addressed the crowd in a heartfelt tribute to his son, as Israel marked the end of a years-long hostage crisis that engulfed the nation.
“All of Israel knows your story, and the whole world has heard it. Everyone holds you close in their hearts — you are the son of all,” he said. “I am so proud to be your father. I miss you every single moment, and I love you deeply.”
On the morning of Oct. 7, 2023, Gvili, a 24-year-old officer in the elite Israel Police’s Special Patrol Unit, was at home recovering from a motorcycle accident with a broken shoulder, awaiting surgery.
His father recounted that as soon as his son heard the news, he put on his uniform and said, “My men are fighting — do you think I should stay home?” before leaving his house.
According to eyewitnesses from that morning over two years ago, Gvili assisted the injured in the area, rescuing around 100 people fleeing the nearby Nova Music Festival and killing 14 Hamas terrorists.
His final message was to his friends, in which he told them he had been shot twice in the leg. After that, he vanished without a trace.
Gvili’s sister, Shira, also delivered a heartfelt tribute during the ceremony.
“When my mother came into my room and told me it would likely be a long time before you returned, I never imagined it would be the last 843 days,” she said.
Israelis look at the iconic clock timer after it was turned off, marking 844 days of hostage captivity and the return of the Israel’s last remaining hostage in Gaza, Ran Gvili, an off-duty police officer who was killed fighting militants that had infiltrated Israel during the deadly October 7, 2023 attack by Hamas, in “Hostages Square” in Tel Aviv, Israel, January 27, 2026. REUTERS/Nir Elias
During the two weeks following Gvili’s disappearance, IDF forces confirmed that he had been abducted and taken to Gaza. By late January 2024, Israeli intelligence had determined that he was killed during the Oct. 7 atrocities and that his body was being held in Gaza.
Israeli Prime Minister Benjamin Netanyahu attended Wednesday’s ceremony, honoring Gvili and recognizing his bravery and sacrifice.
“Ran, Israel’s hero, will be laid to rest in the Tomb of Israel. The closing of the scroll over Gvili’s grave seals the painful reality of the Israeli hostages held in Gaza. We bring them all home, alive or dead, from enemy territory,” the Israeli leader said.
“This is not the end of the story. We also remain committed to our other goals: disarming Hamas, demilitarizing the [Gaza] Strip, and we will achieve them,” he continued, referring to efforts to launch the second phase of US President Donald Trump’s peace plan for Gaza.
Israeli President Isaac Herzog also delivered remarks, honoring Gvili’s courage and the resilience of the Israeli people in the face of tragedy.
“The ‘last hostage’ finally rests in the land of his home. The home he loved, the home he fought for alongside his comrades, the home he set out to defend with supreme courage and ferocity on that bitter and hurried day,” he said.
“I, like the thousands gathered here and the tens of thousands across the country, can only regret not having had the privilege of knowing him in life,” Herzog added.
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ADL Ranks Grok as the Worst AI Chatbot at Detecting Antisemitism, Rates Claude as the Best
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
The Anti-Defamation League (ADL) on Wednesday released its AI Index, which ranks popular large language model (LLM) chatbot programs according to their effectiveness at detecting antisemitism, anti-Zionism, and other forms of extremism.
The watchdog group found a wide variability in performance among the six models it analyzed. Researchers applied a variety of tests to xAI’s Grok, Meta’s Llama, Alphabet’s Gemini, Chinese hedge fund High Flyer’s DeepSeek, OpenAI’s ChatGPT, and the clear winner of them all on recognizing hate, Anthropic’s Claude.
The ADL created an “overall performance model” which combined the results of multiple forms of testing. The group awarded Claude the highest score with 80 points, while Grok sat at the bottom with 21. ChatGPT came in second with 57, followed by DeepSeek (50), Gemini (49) and Llama at 31.
Researchers tested the apps between August and October of last year, striving to explore as an “average user” would utilize the programs, as opposed to a bad actor actively seeking to create harmful content. They performed more than 25,000 chats across 37 sub-categories and assessed the results with both human and AI evaluations.
The report also distinguished between anti-Jewish, traditional antisemitism directed at individual Jews, and anti-Zionist antisemitism directed at the Jewish state. A third category of analysis focused on more general “extremism” and considered questions about conspiracy theories and other narratives which run across the political spectrum.
Among its key findings, the ADL discovered that each app had problems.
“All six LLMs showed gaps in their ability to detect bias against Jews, Zionists/Zionism, and to identify extremism, often failing to detect and refute harmful or false theories and narratives,” the report said. “All models could benefit from improvement when responding to the type of harmful content tested.”
Researchers also found that “some models actively generate harmful content in response to relatively straightforward prompts, such as YouTube script personas saying ‘Jewish-controlled central banks are the puppet masters behind every major economic collapse.’”
The AI Index “reveals a troubling reality: every major AI model we tested demonstrates at least some gaps in addressing bias against Jews and Zionists and all struggle with extremist content,” ADL chief executive officer Jonathan Greenblatt said in a statement. “When these systems fail to challenge or reproduce harmful narratives, they don’t just reflect bias — they can amplify and may even help accelerate their spread. We hope that this index can serve as a roadmap for AI companies to improve their detection capabilities.”
Oren Segal, the ADL’s senior vice president of counter-extremism and intelligence, explained that the new research “fills a critical gap in AI safety research by applying domain expertise and standardized testing to antisemitic, anti-Zionist, and extremist content.” He warned that “no AI system we tested was fully equipped to handle the full scope of antisemitic and extremist narratives users may encounter. This Index provides concrete, measurable benchmarks that companies, buyers, and policymakers can use to drive meaningful improvement.”
Grok — the chatbot ranked lowest on the ADL’s list and directed by its billionaire owner Elon Musk to offer “anti-woke” and “politically incorrect” responses — has faced considerable criticism for last year’s expressions of antisemitism which included answers self-declaring the program as “MechaHitler.”
More recently, Musk and Grok have come under fire from government officials around the world objecting to a recent upgrade which enabled users to create “deepfake” sexualized images which stripped people featured in uploaded images.
The European Union opened an investigation this week with a goal of determining “whether the company properly assessed and mitigated risks associated with the deployment of Grok’s functionalities into X in the EU. This includes risks related to the dissemination of illegal content in the EU, such as manipulated sexually explicit images, including content that may amount to child sexual abuse material.”
Henna Virkkunen, the EU’s executive vice president for tech sovereignty, security, and democracy, decried the fact that Grok can be used for sexual exploitation.
“Sexual deepfakes of women and children are a violent, unacceptable form of degradation,” Virkkunen said. “With this investigation, we will determine whether X has met its legal obligations under the DSA [Digital Services Act], or whether it treated rights of European citizens – including those of women and children – as collateral damage of its service.”
On Monday, a bipartisan group of 35 attorneys general sent a letter to xAI demanding the disabling of the image undressing feature.
Pennsylvania Attorney General Dave Sunday led the effort.
“The time to ensure people are protected from powerful tools like generative AI isn’t after harm has been caused. You shouldn’t wait for a car crash to put up guardrails,” Sunday said. “This behavior by users was all too predictable and should have been addressed before its release. Tech companies have a responsibility to ensure their tools cannot be used in these destructive ways before they launch their product.”
France also opened an investigation into Grok in November 2025, following outputs promoting Holocaust denial in the French language, a criminal violation of the country’s strict laws against promoting lies about the Nazis’ mass murder of 6 million Jews.
Steven Stalinsky, executive director of the Middle East Media Research Institute (MEMRI), has long raised the alarm about the threat of LLMs fueling antisemitism and terrorism. He warned that “over two years later, the problem is demonstrably worse, not better, raising a fundamental question about trust.”
Stalinsky stated that “assurances from AI companies alone are insufficient.”
In response to the ADL’s latest report, Danny Barefoot, senior director of the group’s Ratings and Assessments Institute, said in a statement that “as AI systems increasingly influence what people see, believe, and share, rigorous, evidence-based accountability is no longer optional — it’s essential.”
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Palestinian Authority Leader Attacks PA’s ‘Rampant Corruption’
Lebanese President Joseph Aoun meets with Palestinian Authority President Mahmoud Abbas at the presidential palace in Baabda, Lebanon, May 21, 2025. Photo: REUTERS/Mohamed Azakir
When even Tawfiq Tirawi — a senior leader of the Palestinian Authority (PA)’s ruling party, Fatah, and the former director and co-founder of its General Intelligence Service — says the system is rotten to the core, it is a stark indication of just how deeply corruption is embedded in the PA.
In a public letter posted on January 20, 2026, Tirawi accused the Palestinian Authority of systemic, institutionalized corruption so entrenched that it now enjoys “security and immunity.”
Addressing PA ruler Mahmoud Abbas, Tirawi described years of futile appeals to the PA leadership regarding “numerous cases of corruption and injustice rampant in our institutions.” According to Tirawi, even when Abbas personally referred these cases to PA prime ministers or the attorney general, nothing happened.
Tirawi cited various issues, namely that corruption had spread across the PA government and the judicial system; that a corruption network now operates with protection and immunity; that influential figures are involved in the takeover of public and private lands and assets; that experts and senior public employees who documented these crimes faced threats and intimidation; and that institutions meant to protect the public interest have become a “protective umbrella for the corrupt.”
Even more striking is Tirawi’s threat that if the situation continues, he will expose names and details of corrupt officials to the Palestinian public and international media, calling for a “public, national, and moral trial” to replace a judiciary that no longer functions.
Posted text:“An open letter to [PA] President Mahmoud Abbas
For many years, I have repeatedly approached you with an open heart and demanded your intervention in numerous cases of corruption and injustice that are rampant in our institutions… Some of these cases were referred by you to the [PA] prime ministers and others to the attorney general, but the result unfortunately remained the same: A lack of any concrete action to protect the people or put an end to this severe negligence.
The hands of the influential and the thieves have spread and reached all parts of the PA, at the level of the government and the judicial system, to the point that the corruption network now operates with security and immunity. Its deeds have reached severe levels of threat and intimidation, to the point of threatening senior [PA] public employees, experts, and scholars who have prepared documented reports proving the involvement of influential figures in the takeover of public and private lands and assets, amid criminal behavior that harms the national dignity and core moral values…
While I believe that part of the truth has been conveyed to you, the fact that it has not been fully and clearly told remains a responsibility that cannot be ignored.
In light of the severe collapse of the judicial system’s role, the paralysis of the system of accountability, and the transformation of some institutions that were supposed to protect the public interest into a protective umbrella for the corrupt, I declare clearly that the era of silence is over. If this situation continues, I will not hesitate to expose all the documented issues and cases, including names and details, to the Palestinian public and through local and international media outlets, to enable a public, national, and moral trial of the corrupt, given that the judicial system is not fulfilling its national and constitutional duties.” [emphasis added]
[Fatah Central Committee member Tawfiq Tirawi, Facebook page, Jan. 20, 2026]
While Tirawi’s letter is intriguing, as it reveals what the PA truly is on the inside, do not be fooled. Even if it triggers limited administrative changes, Tirawi himself remains fully committed to the PA’s terror-promoting worldview.
And as Palestinian Media Watch has frequently explained, real reform can only begin when the PA completely ends its support for terrorism by halting incitement, funding, rewards, and the glorification of murderers.
Ephraim D. Tepler is a researcher at Palestinian Media Watch (PMW), where a version of this article first appeared.