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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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‘Brazen Attacks’: Antisemitism Turns Increasingly Violent in the West

CCTV footage of a Jewish man getting stabbed by an attacker in Golders Green area, which is home to a large Jewish population, in London, Britain, April 29, 2026, in this screengrab taken from a social media video. Photo: Social Media/via REUTERS

Across North America and Europe, antisemitism appears to be entering a new, more dangerous phase, with Jewish communities facing a growing wave of shootings, assaults, arson attacks, and violent intimidation even as overall incident totals in some countries begin to dip after the surge that followed Hamas’s Oct. 7, 2023, atrocities in Israel.

In Canada, early 2026 data already indicate the country is on track to see its most violent year against the Jewish community in recent memory, with more violent antisemitic attacks recorded so far this year than during all of 2025, according to the Jewish advocacy group B’nai Brith Canada.

In total, 11 violent antisemitic attacks have already been recorded across the country since the start of 2026, surpassing the 10 violent incidents documented during all of last year, when more than 6,800 antisemitic cases were reported nationwide.

“These brazen attacks on Jewish Canadians are a sign of a crisis of antisemitism that has spiraled out of control,” Simon Wolle, chief executive officer of B’nai Brith Canada, said in a statement.

“Violence such as this, which has escalated from targeting synagogues to targeting Jewish people directly, does not occur in a vacuum. It is what happens when governments fail to act despite mounting evidence that antisemitism is becoming more normalized and dangerous,” Wolle continued.

Last week, a group of Jewish worshippers standing outside the Congregation Chasidei Bobov synagogue in Montreal was targeted in a drive-by shooting, leaving one person with minor injuries.

A week earlier, three visibly Jewish residents were targeted in a separate antisemitic attack when suspects opened fire with a gel-pellet gun, causing minor injuries.

In the United States, overall antisemitic incidents declined in 2025, but violent attacks against American Jews remained at alarmingly elevated levels, according to the Anti-Defamation League (ADL).

In total, 6,274 antisemitic incidents — including assaults, harassment, and vandalism — were recorded across the country last year, averaging roughly 17 incidents every day.

While antisemitic assaults rose modestly by 4 percent to 203 incidents in 2025, attackers increasingly wielded deadly weapons, with such cases surging nearly 40 percent compared to the previous year.

According to the ADL’s recent report, this broader escalation was marked by the return of fatal antisemitic violence in the US, with Jewish victims killed in such attacks for the first time since 2019.

Last May, two Israeli embassy staffers were shot dead in Washington, DC, followed weeks later by a firebombing in Colorado that killed one person and left 13 others injured.

In Spain, an anonymous group has launched an interactive online map called “BarcelonaZ,” which its creators describe as a mapping of “Zionism” across Barcelona, prompting growing concern within the local Jewish community over an increase in targeted attacks and violence.

The interactive tool functions as a geolocated blacklist of Jewish, Israeli, or allegedly Israel-linked businesses and organizations, which its creators accuse of complicity in what they describe as a “genocide” in Gaza.

On the platform, each entry includes a business name, address, category, links, contact details, and political accusations, which Jewish leaders have denounced as resembling a modern-day “Nazi list.”

The map has intensified an already hostile climate in Spain, where reports of antisemitic harassment and violence have surged in recent months. In one of the latest incidents, an unknown individual attempted to set fire to a Jewish-owned pizzeria in Madrid while customers were still dining inside.

In the United Kingdom, Jewish communities have also faced a mounting wave of antisemitic violence, intimidation, and street-level harassment amid growing fears over public safety.

Recently, an increasingly popular antisemitic TikTok trend in London has led to arrests and convictions after young men filmed themselves using cash to mock and harass members of Orthodox Jewish communities.

Videos circulating on social media show young men walking through heavily Jewish areas of London carrying fishing rods with money attached to the line in an apparent attempt to “fish for Jews.”

In a separate incident over the weekend in Stamford Hill, north London, a man allegedly whipped several Haredi Jewish women with a belt before spitting at volunteer responders who arrived at the scene. Witnesses said he also shouted racist insults, antisemitic slurs, and threats at both the victims and the volunteers.

Hours later, in nearby Amhurst Park in north London, a Jewish child was allegedly assaulted outside a school after a woman screamed antisemitic insults and punched the minor.

These latest incidents come amid a wider surge in antisemitic violence in London, including the stabbing of two Jewish men in Golders Green — an attack that prompted the British government to raise the national terrorism threat level from “substantial” to “severe” for the first time in over four years.

Across the English Channel, three teenage boys assaulted a 14-year-old Jewish girl and threatened to kill her in the Parisian suburb of Sarcelles in March. The attack occurred weeks after a 13-year-old boy on his way to synagogue in Paris was brutally beaten by a knife-wielding assailant. France has seen several high-profile antisemitic attacks over the past year.

Meanwhile, the commissioner to combat antisemitism in the German state of Hesse sounded the alarm in January after an arson attack on a local synagogue in the town of Giessen, warning that it reflected a “growing pogrom-like atmosphere” threatening Jewish life across Germany. The environment has become so hostile that the Jewish community in Potsdam, a city just outside Berlin, fears it may not be safe to open a new Jewish daycare center amid growing security concerns.

In Ireland, the Jewish community has also reported a sharp rise in antisemitic incidents since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, with community leaders warning that violent threats and intimidation are becoming increasingly commonplace.

One Irish Jew said he and his wife no longer attend community events together out of fear that a mass-casualty antisemitic attack could leave their young son orphaned — a stark reflection of the deepening sense of insecurity gripping parts of Ireland’s Jewish community.

“If there were another community that felt that sense of siege and that they had to take steps to protect themselves in moments where they’re visible, I think there would be a sense of moral outrage about it,” Sunday Times journalist Jon Ihle told “The Claire Byrne Show.”

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Debating Zionism is fair. Protesting Israel’s president at commencement crosses the line

I am grateful for Noam Pianko’s recent essay, “Debating Zionism is good for Jews, actually.” Pianko argued that criticism of a small group of graduating seniors at the Jewish Theological Seminary who objected to JTS’s invitation to Israeli President Isaac Herzog to serve as this year’s commencement speaker was misguided, citing JTS’s long history of internal debates over Zionism.

I was among those critics. In a May 3 blog post for The Times of Israel I argued that even six students publicly opposing Herzog’s presence was six too many — not because Jewish institutions should avoid debate, but because there is a difference between debate premised on a shared commitment to Jewish peoplehood, and debate that rejects of one of Jewish peoplehood’s central expressions.

Pianko rightly reminds readers that JTS has never been ideologically monolithic. Its history includes tensions between tradition and change, particularism and universalism, theology and modernity. Those tensions are part of what has made JTS so influential in American Jewish life for nearly 140 years.

The history of debate over Zionism within the seminary’s intellectual culture does not weaken my concern. It sharpens it.

The crucial issue is conceptual precision. Expressions of skepticism about Zionism in earlier periods of JTS history were often very different from today’s anti-Zionism.

In some cases, they reflected a classical religious view that Jewish return and sovereignty would come through a messianic process rather than through human political action. That position was a theological claim about timing and agency, not a negation of Jewish national aspiration. In others, like Ahad Ha’am’s cultural Zionism, for example, an emphasis was put on Jewish renewal through language, spirit and civilization, while questioning whether political statehood should be the immediate or primary goal. That was an internal argument about how Jewish national life should unfold — not over whether such a life was valid.

Contemporary anti-Zionism, in contrast, frequently challenges the legitimacy of Jewish sovereignty itself. That is not simply another version of an older seminary debate. It is a different claim with different consequences.

To be clear, the students’ letter is not a simple declaration of anti Zionism, and it should not be caricatured as such. Their stated concerns include the devastation of the war in Gaza, the moral responsibilities of Jewish leadership, and the fear that honoring Herzog without sufficient public reckoning sends the wrong message about Palestinian suffering.

Those concerns deserve serious engagement. But seriousness also requires asking what this protest communicates in institutional context. At a moment when the Jewish people and Israel’s legitimacy are under intense assault, opposing the presence of Israel’s president at a flagship Jewish seminary risks turning anguish over Israeli policy into a symbolic rejection of Israel’s legitimacy as a central part of Jewish life. That is the line I believe JTS must be careful not to blur.

So while Pianko is right to highlight ideological range in JTS’s past, we should not flatten the past into the present.

Zionism did not become central to Jewish life by accident. It emerged as the primary vehicle through which the Jewish people reclaimed agency, safety and a collective future after centuries of vulnerability. The establishment of the state of Israel transformed Jewish existence. That fact does not erase earlier debates, but it does change the center of gravity.

Institutions like JTS have a responsibility to teach that complexity honestly — which Herzog’s presence at commencement, and thoughtful, well-informed debates around it, will help to do. Seminaries should expose students to the range of Jewish thought, including theological reservations, cultural critiques and internal disagreements about Zionism.

At issue is not whether the varieties and history of Zionism should be debated at JTS. Of course they should. Instead, this incident is a reminder that a flagship institution of Jewish learning can and should remain clear that Jewish peoplehood, Jewish sovereignty and the state of Israel are not peripheral to contemporary Jewish identity. They are central.

The post Debating Zionism is fair. Protesting Israel’s president at commencement crosses the line appeared first on The Forward.

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UK Man in Court Charged With Arson at Former London Synagogue

Orthodox Jews stand by a police cordon, after a man was arrested following a stabbing incident in the Golders Green area, which is home to a large Jewish population, in London, Britain, April 29, 2026. Photo: REUTERS/Hannah McKay

A British man charged over an arson attack at a former synagogue in east London last week was in contact with someone using an Iraqi phone number shortly before the fire, prosecutors told a London court on Tuesday.

Moses Edwards, 45, appeared in the dock at Westminster Magistrates’ Court and was remanded in custody until a further hearing next month. He gave no indication of any plea.

The fire at the former East London Central Synagogue was caused by wine bottles filled with an accelerant, which exploded damaging the outside of the building, prosecutors said.

The incident followed a series of arson attacks on Jewish targets in previous weeks, with police saying they were investigating possible Iran links to some of the fires.

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