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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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The Spanish Sabotage: How NATO’s Weakest Link Endangers the War Effort
Spanish Prime Minister Pedro Sanchez speaks during a press conference after attending a special summit of European Union leaders to discuss transatlantic relations, in Brussels, Belgium, Jan. 23, 2026. Photo: REUTERS/Yves Herman
As the Western alliance entered the second month of its existential struggle against the Iranian regime, the southern anchor of NATO officially buckled.
In a calculated move that serves as a strategic windfall for Tehran, the Spanish government — led by Prime Minister Pedro Sánchez — closed its national airspace and sovereign military bases to United States forces engaged in “Operation Epic Fury.”
By branding the mission to dismantle Iran’s nuclear infrastructure as “illegal and reckless,” Madrid has transitioned from a passive free-rider to an active obstructionist, prioritizing a radical domestic agenda over the survival of the trans-Atlantic security architecture.
This is not merely a tactical disagreement; it is a textbook manifestation of “lawful Islamism” and the erosion of Western resolve. While American and Israeli pilots risk their lives to prevent a nuclear-armed mullahcracy from finalizing its breakout, Spain has opted for a “Neutrality of the Grave” that threatens to lengthen the conflict and embolden the Axis of Resistance.
The immediate impact of Spain’s decision is felt at the fuel pump and the flight line.
By denying the US the use of Naval Station Rota and Morón Air Base — historical gatekeepers of the Mediterranean — Sánchez has severed the primary logistical “air bridge” for Operation Epic Fury. US refueling tankers, including KC-135s and KC-46s, have been forced to relocate to more distant hubs in Germany and the United Kingdom, creating a congested bottleneck in Northern Europe.
Rerouting around the Iberian Peninsula adds between 300 and 800 nautical miles to every mission, a “strategic tax” that adds up to two hours of flight time for time-sensitive strikes.
On a typical widebody military aircraft, this delay consumes an additional 13,000 pounds of fuel per sortie. In a theater where seconds determine whether a mobile Islamic Revolutionary Guard Corps (IRGC) missile launcher is neutralized or fired at an Israeli city, Spain’s “neutrality” is measured in the blood of its allies.
Spain’s sabotage is driven by the internal mechanics of the Sánchez government — a fragile minority coalition captured by radical left and Islamist-aligned forces. The influence of parties like Sumar and EH Bildu — a group with historical ties to Basque terrorism — has effectively outsourced Madrid’s foreign policy to a “Red-Green Alliance” that views the US and Israel as greater enemies than the IRGC.
This ideological subversion was punctuated by the unfiltered rebuke of Spain’s Transport Minister, Óscar Puente, who directed a statement at the Israeli leadership that has since reverberated across the globe: “We are not going with you even around the corner, you genocidal bastard.”
This is the language of rupture, signaling that Spain no longer considers itself a partner in the defense of Western values.
The hollow morality of the government’s stance was dismantled on March 29 by General Fernando Alejandre, the former Chief of the Spanish Defense Staff (JEMAD).
In an interview with ABC Spain, Alejandre warned that the “No to War” slogans used by the cabinet are merely “simplistic advertisements” that ignore the topographical reality of modern threats. Alejandre noted that Spain has “sublimated the word peace,” mistakenly believing that an “unjust peace” is preferable to a necessary defense, a path that inevitably leads to total indefension.
Alejandre’s most haunting warning concerned Spain’s own sovereignty. He identified Morocco as a “certain and clear threat” that is closely watching Spain’s lack of a solid defense culture. By alienating the United States in its hour of conflict, Spain is gambling with the security of the Canary Islands, Ceuta, and Melilla. As US strategic interest shifts toward Rabat — a pro-Western partner and Abraham Accords signatory that has seen a 17.6% increase in its 2026 defense budget — Spain risks being left alone on its own southern flank.
The economic repercussions are already beginning to bite. President Donald Trump has characterized Spain as a “terrible” ally, and instructed US Treasury Secretary Scott Bessent to prepare a total trade embargo against Madrid. Furthermore, by complicating the mission to reopen the Strait of Hormuz, Spain is directly contributing to the global energy shock that has sent Brent crude toward $110 per barrel.
The Spanish sabotage is a case study in the danger of allowing domestic extremism to dictate international security. When a NATO member chooses to facilitate the survival of the Iranian regime by weaponizing its geography against its allies, the alliance must react. The “habit of consultation” that has defined NATO since 1949 is broken. For the mission to deny Iran nuclear weapons to succeed, the West must recognize its weakest links and forge new partnerships with those who demonstrate a genuine commitment to victory.
The cost of Madrid’s betrayal is a grave that the Iranian regime is currently digging for the entire West; Sánchez is merely making sure the US has a harder time stopping them.
Amine Ayoub, a fellow at the Middle East Forum, is a policy analyst and writer based in Morocco. Follow him on X: @amineayoubx
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From Spain to Passover: The Problem of Inherited Guilt
Soccer Football – Champions League – Paris St Germain v Atletico Madrid – Parc des Princes, Paris, France – November 6, 2024 A banner on support of Palestine is displayed in the stands before the match. Photo: Reuters/Stephanie Lecocq
In 2019, former Mexican President Andrés Manuel López Obrador formally asked Spain to apologize for abuses committed during his country’s conquest of Mexico. At the center of that request is Spain’s role in the destruction of the Aztec capital, Tenochtitlan, in 1521—an event that marked the beginning of Spanish colonial rule on the site of what is now Mexico City.
Current President Claudia Sheinbaum has continued to press the issue, and Spain’s King Felipe VI recently said that the conquest “didn’t work out as originally intended and there was a lot of abuse.”
Sheinbaum acknowledged that the remark fell short of a full apology, but nevertheless called it a gesture of reconciliation that would help improve relations between their two countries. For her, this gesture served to validate and dignify Mexico’s indigenous population, and help ensure that history is viewed not only from the perspective of the colonizers but of the colonized as well.
Even though these events occurred centuries ago, the argument for apology rests on the idea that nations, like corporations, have a kind of legal and historical continuity. States endure beyond the lifetimes of their citizens. Laws persist, institutions evolve rather than disappear, and national identity is transmitted across generations. Spain’s monarchy, like the Spanish state itself, presents itself as an institution of deep historical continuity. With that comes responsibility as well.
But this logic raises a fundamental problem. The individuals responsible for the conquest are long dead, and those offering apologies today played no role in those events. If individuals cannot inherit guilt from their parents, on what basis can entire nations inherit moral responsibility for actions taken centuries ago?
This sits uneasily with a core principle of modern human rights: that individuals are born free and equal, responsible for their own actions, and should not be judged based on the deeds of others. Once we depart from that principle, we begin to assign moral status not by what people have done, but by who their ancestors were.
More broadly, an emphasis on inherited guilt encourages us to look backward for solutions to present problems. When we encounter injustice today, should our first question be who to blame in the distant past — or what we can do now to make things better? A politics rooted in historical grievance risks creating an endless cycle of accusation and counter-accusation, with no endpoint.
This dynamic is visible in debates over Israel and the Palestinians. Some Palestinian activists center their narrative of the “Nakba,” arguing that peace requires addressing what they view as historical injustices from 1948. On the other side, many emphasize Jewish historical and indigenous claims stretching back millennia, arguing that recognition of that history is essential to any resolution, as well as Jewish presence in the land before 1948. These competing historical frameworks can be difficult, if not impossible, to reconcile.
It would be more fruitful to focus on what political arrangements would best advance the rights of all people living today, regardless of ethnicity. But we can only do that if we are willing to recognize each person as a new individual, equally worthy of freedoms and protections, regardless of what we believe their ancestors may have done.
If we extend the logic of historical responsibility consistently, it becomes impossible to sustain. For example, at the Passover seder we recount the story of the ten plagues. If modern Spain bears responsibility for destruction five centuries ago, should Israel, by the same logic, be forced to apologize to Egypt for the excess suffering described in that story?
And if Israel must apologize for the plagues, then Egypt should also apologize for its original enslavement of the Israelites. How would such a process begin — and where would it end? Is this really what we want to argue about? Current times present us with enough problems without importing conflicts from the past as well. The question for Spain and Mexico, as well as Israelis and Palestinians, is not how to assign guilt for the distant past, but how to uphold the rights and dignity of people living today.
Shlomo Levin holds a Master’s in International Law and Human Rights from the United Nations University for Peace and uses fiction to examine the tension between human rights theory and practice. Find him at www.shalzed.com.
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A Message of Hope Ahead of Pesach: Israeli Negev Bedouin’s Response to Iranian Rockets
A drone view shows a damage in a residential neighbourhood, following a night of Iranian missile strikes which injured dozens of Israelis, amid the US-Israel conflict with Iran, in Dimona, southern Israel, March 22, 2026. REUTERS/Roei Kastro
The Palestinian Authority (PA) wants Palestinians to believe that Israeli Arabs hate their country — Israel — and the Jews living in it.
The reality, however, is not like that at all.
When commenting on Israeli Arabs, whom they call the Palestinians from “Interior Palestine,” or from the “lands occupied in ’48” (the year Israel was established) they vigorously promote the lie that Israel targets Israeli Arabs.
Commentary by columnist Omar Hilmi Al-Ghoul, in the official PA daily and former advisor to former PA Prime Minister Salam Fayyad on national affairs, is a case in point:
Omar Hilmi Al-Ghoul
The members of the Palestinian people in the Interior [i.e., Palestinian term for Israel] … reject all the actions of falsification and coexistence between the true Arab Palestinian narrative and the fake and false Zionist narrative, because confirming the Zionist narrative … means confirming the legitimacy and eligibility of the Zionist presence on the Arab Palestinian land.” [emphasis added]
[Official PA daily Al-Hayat Al-Jadida, Aug. 28, 2021]
But following recent Iranian missile attacks against the southern Israeli towns of Arad and Dimona, nearby Israeli Bedouin Arab communities posted in “local Facebook groups to offer their homes, food, and messages of solidarity” [The Jerusalem Post, March 24, 2026] to Israelis/Jews harmed by the rockets.
This is the exact opposite response of what you would expect from a “hostile” population:
Israeli Arab Bedouin school principal Sager Abu Srehan: “I think the real reality is what matters. We live together with the Jewish society as brothers, on the same land and under the same sky.
We study together, work together, and this country belongs to all of us. We are people who belong here and who love our country … The partnership between us as a society, with many examples of cooperation, is what creates the beautiful colors in the mosaic of Israeli society.” [emphasis added]
[Israeli school principal Sager Abu Srehan, The Jerusalem Post, March 24, 2026]
The dystopian image that the PA promotes of Israeli society tumbles like a deck of cards when confronted with the Israeli reality as a democratic country where all citizens — Jews and Arabs — are treated equally according to law. It is a level of freedom that, ironically, the PA does not come close to bestowing upon its own population.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.