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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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Anti-Israel Streamer Hasan Piker Reaffirms Hamas Support
Hasan Piker. Photo: Wikimedia Commons
Controversial streamer Hasan Piker raised eyebrows Monday after reaffirming his support for the Hamas terrorist group during an interview on the popular left-wing podcast “Pod Save America.”
While speaking with Jon Favreau, former speechwriter to US President Barack Obama, Piker doubled down on his assertion that Hamas is a preferable governing entity compared to Israel.
“This [quote] is from January,” Favreau said while reflecting on previous comments made by the streamer. “‘Hamas is a thousand times better than a fascist settler colonial apartheid state.”
“I stand by that,” Piker responded.
Favreau then asked Piker to clarify whether his comments were genuine or hyperbolic.
“[T]his is the one that bothered me most when I first heard it …. Even if you believe what happened in Gaza is genocide and what’s happening in the West Bank is apartheid, those are different claims from ‘Hamas is a thousand times better,’ because Hamas is an organization that has massacred, raped, kidnapped civilians on Oct. 7,” the former Obama speechwriter said, referring to Hamas’s invasion of and massacre across southern Israel in 2023. “They’ve also been catastrophic for Palestinians by almost every measure … Do you actually mean that or is that a rhetorical move or like a solidarity signal?”
“I mean, it’s all of the above. I do mean it,” Piker affirmed. “I’m a lesser-evil voter and therefore I would vote for Hamas over Israel every single time.”
Jon Favreau: “When you say Hamas is a thousand times better, do you mean that?”
Hasan Piker: “I do mean it … I would vote for Hamas over Israel every single time.” pic.twitter.com/1dNxvOGslo
— Shannon Watts (@shannonrwatts) April 13, 2026
Hamas, which openly calls for the destruction of Israel and the murder of Jews, has launched a brutal crackdown on dissent among fellow Palestinians in recent months. Social media videos widely circulated online show Hamas members brutally beating Palestinians and carrying out public executions of alleged collaborators with Israel and rival militia members.
Piker also suggested that Hamas is “entirely comprised” of orphaned children whose parents were killed in the Israeli-Palestinian conflict — remarks that critics say distort reality and risk minimizing the group’s violent actions. He framed Hamas as a product of trauma, arguing that many of its members are driven by personal loss tied to Israeli military operations. The comments quickly drew backlash from analysts, policymakers, and pro-Israel advocates, who say the characterization is both factually inaccurate and morally problematic.
Piker continued, comparing Israel to Nazi Germany and repudiating Zionism as “an ethno-religious supremacist ideology that is exterminationist.”
The US and several countries around the world designate Hamas as a terrorist organization. On Oct. 7, 2023, Hamas-led Palestinian terrorists murdered 1,200 people, kidnapped 251 hostages, and perpetrated widespread sexual violence during their rampage
Piker’s remarks are the latest in a series of contentious statements on Israel and the broader Middle East, which have drawn scrutiny from both media watchdogs and political figures. His large online following has amplified the impact of his commentary, fueling debate over the responsibility of digital influencers in shaping public understanding of global conflicts.
Piker has drawn immense scrutiny in recent months as his popularity has surged and mainstream Democratic politicians have increasingly appeared on his livestream show.
Beyond Hamas, Piker has also expressed support for authoritarian regimes in China, Russia, and Iran.
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Iran Executed More People in 2025 Than Any Year in Nearly Four Decades, NGOs Find
A February 2023 protest in Washington, DC calling for an end to executions and human rights violations in Iran. Photo: Reuters/ Bryan Olin Dozier
The Islamic regime in Iran has continued to accelerate its execution machine into a steady grind of state-ordered killings, now rising again to a peak unseen since 1989.
According to a joint-annual report released by the European groups Iran Human Rights (IHR) in Norway and Together Against the Death Penalty (ECPM) in France, Iran executed at least 1,639 people in 2025, a 68 percent leap from the 975 killed in 2024 and the highest seen since tracking began in 2008. All known executions were reportedly conducted by hanging.
The number of executed women also rose to 48, a jump from 31 in 2024. Courts convicted 21 of these women for murdering their husbands or fiancés.
The figure of 1,639 human beings represents an average of four executions each day; however, IHR warns that the full body count is likely much higher, as the group requires two sources to confirm an execution.
“By creating fear through an average of four to five executions per day in 2025, authorities tried to prevent new protests and prolong their crumbling rule,” IHR director Mahmood Amiry-Moghaddam said in a statement.
“The death penalty in Iran is used as a political tool of oppression and repression, with ethnic minorities and other marginalized groups disproportionately represented among those executed,” added Raphaël Chenuil-Hazan, executive director of ECPM.
The report cites the higher levels of executions targeting Sunni Muslims such as Kurds in the west and Baluch in the southeast.
A significant number of executions involved non-lethal offenses, with nearly half of documented executions – 747 people – convicted of drug crimes. While most executions took place inside prisons, the number of public hangings more than tripled to 11.
The report begins with a foreword written on Feb. 20 by human rights lawyer Nasrin Sotoudeh. On April 1, Iranian police arrested her and today her whereabouts remain unknown.
Beginning by noting that Iran has ranked highest in executions per capita for many years and remains one of the highest for total killings, Sotoudeh writes that “the reasons for opposing the inhuman punishment of execution are so clear that they hardly require repetition. Nevertheless, governments such as the Islamic Republic of Iran often invoke public opinion to justify this inhuman punishment.”
Sotoudeh explains that the regime justifies executing murderers and drug traffickers because of a supposed public demand, “as though that settles the matter.” She points out that historically executions can rise after revolutions following dictatorships.
“We experienced this ourselves within the past half-century. After the 1979 Revolution, many officers and senior officials of the monarchy were executed without fair trials,” Sotoudeh writes. “Yet the cycle of violence did not end, and the execution machine went on to claim the lives of others, including those who had contributed to the revolution’s victory. This cycle has not ceased to this day, nearly half a century later, and has in fact accelerated.”
Invoking one of history’s most famous victims of unjust execution, Sotoudeh adds, “This is precisely why death sentences should never be issued under the influence of public opinion. Socrates, too, was sentenced to death at the age of 70 by a vote of the Athenian majority and chose to drink the cup of poison rather than leave Athens.”
The report reveals the extent to which the regime has sought to conceal its bloody hands. Official government sources only announced 113 executions (less than 7 percent), down from 9.7 percent in 2024 and 15 percent in 2023.
Rape is a capital offense in Iran, with 37 people killed after convictions. The report notes that “as in previous years, people accused of crimes were tortured and forced to confess. Criminal convictions are frequently based on information extracted under torture.”
The execution increase established in 2025 appears to have continued into 2026.
On Monday, for example, the Human Rights Activist News Agency announced that Judge Iman Afshari of the Tehran Revolutionary Court had sentenced to death protesters Mohammadreza Majidi-Asl, Bita Hemmati, Behrouz Zamaninejad, and Kourosh Zamaninejad.
The charges which Afshari judged as worthy of execution included “destruction of public property,” “chanting protest slogans,” “throwing objects including bottles, concrete blocks, and incendiary materials from rooftops,” and “participation in protest gatherings on Jan. 8 and 9, 2026.”
The Iranian regime unleashed a brutal, nationwide crackdown on anti-government protesters in January, resulting in the deaths and arrests of tens of thousands of people. Activists fear that many of those detained will be executed.
The report cites Max du Plessis, a UN Fact-Finding Mission expert, who said in October after observing the increase in killings, “if executions form part of a widespread and systemic attack against a civilian population, as a matter of policy, then those responsible – including the judges who impose capital punishment – may be held accountable for crimes against humanity.”
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Hampshire College closure reverberates for alumni who treasured a Yiddishist hub
Hampshire College, once a hub for Yiddish scholarship thanks to its proximity to the Yiddish Book Center, will close by the end of the year amid financial challenges.
The Yiddish Book Center will not be affected by the closure, said spokesperson Rebecka McDougall, noting that the Yiddish Book Center owns its land and building, located adjacent to campus.
Even so, the closure signals the end of an era for Yiddishists who found their footing at Hampshire. Among its alumni are Yiddish singer Miryem-Khaye Seigel, the Yiddish Book Center’s academic director Madeleine (Mindl) Cohen, and the Forward’s archivist, Chana Pollack.
“It connected me to other people that were very instrumental to my broader Yiddish interests,” said Lana Adler, a 2013 Hampshire graduate who went on to work at the YIVO Institute for Jewish Research, which houses the largest collection of Yiddish-language works in the world. “It was an incredibly important space for Yiddish.”
Hampshire and Yiddish
Founded in 1970 in Amherst, Massachusetts, Hampshire College was conceived as an experiment in alternative education, offering self-designed concentrations instead of traditional majors and “narrative evaluations” rather than grades.
A decade later, it became home to a major Yiddish revival effort when alum Aaron Lansky returned to found the Yiddish Book Center. Alarmed that American Jews were discarding irreplaceable Yiddish books, Lansky set out to save them.
New York City seemed the obvious base. But mentors warned he might “get swallowed up” among the city’s many Jewish institutions, recalled Penina Migdal Glazer, a former Hampshire professor, in a 2024 interview.
Instead, Lansky chose Amherst — a place he knew from his college years, with faculty mentors who could support the project, and more affordable land. He purchased 10 acres on an apple orchard next to the Hampshire campus and, in 1997, built the Harry and Jeanette Weinberg Building, designed to evoke an Eastern European shtetl.
In the years that followed, the Yiddish Book Center and Hampshire College became a magnet for students interested in Yiddish. The two partnered to host Yiddish language classes and programs like the Yiddish Book Center’s Steiner Summer Yiddish Program, where participants immerse themselves in seven weeks of Yiddish language and culture while staying in Hampshire College dorms.
The closure’s impact
Facing declining enrollment and mounting debt, Hampshire College’s Board of Trustees voted to permanently close the school following the fall 2026 semester, president Jennifer Chrisler announced Tuesday.
McDougall told the Forward that the Yiddish Book Center’s summer residential programs are independent of Hampshire College and will continue, adding, “There is currently no programmatic partnership with Hampshire College.”
“We are saddened by Hampshire College’s announcement,” Susan Bronsin, president of the Yiddish Book Center, said in a statement. “Hampshire has been a valued neighbor for many years, and we recognize the significance of this moment for its community.”
For Aleks Ritter, co-founder of the student group Hampshire Jewish Life, the campus’ proximity to the Yiddish Book Center was a large part of the school’s appeal when he first applied. Ritter had studied Yiddish through YIVO in high school and hoped to continue in college.
He and his friends would often go to the Yiddish Book Center to study and hang out, and several of his friends worked part-time jobs there.
“The school has been really wonderful for Jewish students,” Ritter said.
Now, Ritter will have to transfer to another college in the area.
For alumni like Adler, the loss also feels personal. Hampshire was the first time she had formally studied Yiddish — an experience that shaped her career.
“There was something special happening at Hampshire,” Adler said. “It was very important to me and to a lot of other people. I’m just so sad. I can’t believe it’s closing.”
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