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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 post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.
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Are you a Good Witch or a Bad Witch? Or a Jewitch?
When I was a little girl, I played Witch all the time. I was The Grande Madame — the Queen of all the Witches. I even wrote spooky musicals for the neighborhood kids. We set up lawn chairs in my friend Susie’s backyard in Queens, and made our parents watch. If I had been more business minded, I would have sold tickets.
Now I teach music and something must have stayed with me, because October is my favorite month — Witchy Music Month. This week, I put on my pointy hat, plugged in my spooky orange lights, and played some scenes from The Wizard of Oz and Snow White for the kiddos.
Then I noticed something.
Both witches had big, hooked noses. What they used to call “Jewish Noses.” The noses that kept New York surgeons busy when we hit 18. Many of us got nose jobs. It wasn’t a secret. It was expected.
My mother said no, so I couldn’t get one, but it didn’t stop me from kvetching. (I also asked to be sent to a Swiss Finishing School — again, no.)
I looked it up. A big study in 1914 debunked the theory that Jews actually had big noses — 14% aquiline, compared with 10% of the regular population. Considering that Jews are a people sometimes “bottlenecked from geographic diversity” in a more modern study in 2022, meaning that we weren’t allowed to live anywhere we wanted, and definitely meaning that we inbred, it doesn’t sound like we owned Big Nose.
Tell everybody.
Still, the “hook-nosed” Jewish stereotype remains. Hard to get rid of stereotypes, and harder to get rid of what most people find conventionally attractive. Especially when Disney adds to the Big Hooked Nose in Snow White’s witch — with some well-placed warts.
The most famous Jewish Witch story was when King Saul wanted to go to battle with the Philistines and consulted the Witch of Endor. She summoned Prophet Samuel’s Spirit for the King. Alas Samuel prophesied Doom, and King Saul and his son Jonathan were killed the next day.
The irony was that King Saul had banned all witches, until he needed one himself.
And do you remember what TV writer Sol Sacks named Samantha’s mother in the TV series, Bewitched? Yes, Endora. I bet Sacks’ Hebrew School teacher was proud.
My son, Aaron, is most like me, and I guess most susceptible to my witchiness. He really believed when he was little, and I remember once picking him up from his second grade class. As I bent down to tie Aaron’s shoe, I felt 100 little eyes on me. When I straightened up, I was surrounded by a solemn crowd. A little girl pointed and said, “Aaron, she doesn’t look like a witch.”
I have to admit, I was a little insulted.
I also have to admit that I did use my powers on Aaron and I am a little ashamed. When he was six, he hated Shabbos because of its restrictions. No TV, no piano, no trips in the car to the 7-Eleven for Slurpees; and endless synagogue.
But this happened on a Wednesday night. He was in a mood and was smashing all her plastic swords and yelling, and I was on the phone trying to accept a music gig with a bride and groom. I told the couple I’d call them right back.
“Aaron,” I looked at him. “If you don’t stop right now — I’m gonna make it SHABBOS!”
He dropped his swords in petrified horror. “C-c-can you really DO that?”
And then I did something I’m even more ashamed of. I smiled.
The post Are you a Good Witch or a Bad Witch? Or a Jewitch? appeared first on The Forward.
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Turkey-Qatar Partnership Grows While Hamas Refuses to Disarm, Raising Alarm Bells Over Gaza’s Future
Turkish President Tayyip Erdogan is welcomed by Qatar’s Emir Sheikh Tamim bin Hamad al-Thani in Doha, Qatar, Oct. 22, 2025. Photo: Murat Kula/Turkish Presidential Press Office/Handout via REUTERS
As Qatar and Turkey further expand their relationship, concerns are mounting that their growing influence in Gaza could bolster Hamas and complicate the fragile ceasefire, as both countries pursue their regional ambitions in the war-torn enclave.
On Wednesday, Ankara and Doha signed new agreements on defense, trade, and strategic planning, deepening a partnership that continues to raise alarm bells among Israel, Gulf states, and experts, who warn that their expanding roles in Gaza’s reconstruction efforts could potentially strengthen Hamas’s terrorist infrastructure.
As part of his three-day Gulf tour, Turkish President Recep Tayyip Erdogan traveled to Doha to meet with Qatari Emir Sheikh Tamim bin Hamad Al Thani.
During the 11th meeting of the Turkey–Qatar High Strategic Committee, the two leaders issued a joint declaration reaffirming their commitment to maintaining the US-backed Gaza peace plan.
Erdogan’s diplomatic visit came a day after Hamas leaders met with Qatari and Turkish officials in Doha to discuss the ongoing Israel-Hamas ceasefire and plans for rebuilding Gaza after the war.
As both nations expanded their relationship with new cooperation agreements, Turkey has reportedly sought to acquire billions of dollars’ worth of military technology from Qatar, including 24 used and 16 new Eurofighter Typhoon jets.
If approved, the deal would allow Doha to provide Ankara with an immediate solution to its operational gap, bypassing the Eurofighter production schedule, which is currently overbooked due to high global demand.
Amid rising geopolitical tensions, Turkey’s move to acquire advanced multi-role combat aircraft would strengthen its position as a key regional power and reduce reliance on American-made systems, while representing a major step in modernizing its combat aviation fleet.
However, concerns over Qatar and Turkey’s expanding partnership come at a time when the fragile Gaza ceasefire, though seemingly holding, faces mounting challenges, as the Palestinian terrorist group continues to refuse disarmament — an essential component of US President Donald Trump’s peace plan.
On Saturday, Hamas reiterated the group’s refusal to give up its weapons as part of the ceasefire.
“The proposed weapons handover is out of the question and not negotiable,” a Hamas official told AFP.
Hamas Politburo member Mohammed Nazzal also said the group could not commit to disarmament, as it intends to maintain security control in Gaza during an interim period.
Even though Hamas has publicly expressed these views before, these latest remarks have heightened concerns over obstacles to ending the war in Gaza, with the next phase of ceasefire negotiations waiting to begin.
In this regional context, experts warn that both Turkey and Qatar — as two of the largest state sponsors of Hamas, with long-standing ties to the terrorist group — could shield the Islamist movement in Gaza or even bolster its terror infrastructure, as they seek a central role in post-war efforts.
Alongside the United States and regional powers, Qatar has served as a ceasefire mediator during the two-year conflict in Gaza, facilitating indirect negotiations between the Jewish state and Hamas, which has ruled the enclave for nearly two decades.
However, Doha has also backed the Palestinian terrorist group for years, providing Hamas with money and diplomatic support while hosting and sheltering its top leadership.
Turkey has also been a major international backer of Hamas and has maintained an openly hostile stance toward the Jewish state for years.
During his visit to Doha, Erdogan said the ceasefire “has provided relief to Palestinians,” but reiterated that a two-state solution was the only path to resolving the conflict with Israel.
Under Trump’s plan, Turkey is expected to join a multinational task force responsible for overseeing the ceasefire and training local security forces.
However, Israeli Prime Minister Benjamin Netanyahu hinted at opposition to any involvement of Turkish security forces in post-war Gaza.
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Major Body of University Professors Targets Antisemitism Prevention Policies at University of Pennsylvania
Anti-Israel encampment at University of Pennsylvania in Philadelphia, PA, USA in May 2024. Photo: Robyn Stevens via Reuters Connect
The American Association of University Professors (AAUP), the largest and oldest US organization for defending faculty rights, is picking a fight over the University of Pennsylvania’s efforts to combat antisemitism, arguing that a range of faculty speech and conduct considered hostile by Jewish members of the campus community are key components of academic freedom.
In a letter to the administration regarding antidiscrimination investigations opened by Penn’s Office of Religious and Ethnic Interests (OREI), the group charged that efforts to investigate alleged antisemitism on campus and punish those found to have perpetrated can constitute discrimination. Its argument reprises recent claims advanced by the Council on American-Islamic Relations (CAIR) group, notorious for its defense of Sharia law and alleged ties to jihadist groups such as Hamas, in a lawsuit which aims to dismantle antisemitism prevention training at Northwestern University.
“Harassing, surveilling, intimidating, and punishing members of the university community for research, teaching, and extramural speech based on overly broad definitions of antisemitism does nothing to combat antisemitism, but it can perpetuate anti-Arab, anti-Muslim, and anti-Palestinian racism, muzzle political criticism of the Israeli government by people of any background, and create a climate of fear and self-censorship that threatens the academic freedom of all faculty and students,” the AAUP said, threatening to scrutinize the university. “AAUP-Penn will continue to monitor reports related to OREI.”
Additionally, the AAUP described Penn’s efforts to protect Jewish students from antisemitism as resulting from “government interference in university procedures” while arguing that merely reporting antisemitism subjects the accused to harassment, seemingly suggesting that many Jewish students who have been assaulted, academically penalized, and exposed to hate speech on college campuses across the US are perpetrators rather than victims. The group also argued that other minority groups from “protected classes,” such as Arabs and African Americans, are disproportionately investigated for antisemitism.
Despite the AAUP’s claims, some University of Pennsylvania faculty have played an outsized role in organizing antisemitic activities on campus, as previously reported by The Algemeiner.
In 2023, professor Huda Fakhreddine helped organize the “Palestine Writes Festival,” a gathering of anti-Zionists which featured Gaza-based professor Refaat Alareer, who said in 2018, “Are most Jews evil? Of course they are,” and Salman Abu Sitta, who once said in an interview that “Jews were hated in Europe because they played a role in the destruction of the economy in some of the countries, so they would hate them.” Roger Waters, the former Pink Floyd frontman, was also initially scheduled as a speaker, despite a documentary exposing his long record of anti-Jewish barbs. In one instance, a former colleague recalled Waters at a restaurant yelling at the wait staff to “take away the Jew food.”
That event prompted a deluge of antisemitic incidents at the University of Pennsylvania, including Nazi graffiti and a student’s trailing a staffer into the university’s Hillel building and shouting “F–k the Jews” and “Jesus Christ is king!” overturning tables, podium stands, and chairs. Fakhreddine, who days after the Hamas-led Oct. 7, 2023, attack on Israel attended an on-campus rally in which a speaker castigated what he called “the Israeli Jew,” later sued Congress to halt its investigation of campus antisemitism at Penn.
The professor’s civil complaint brimmed with classic antisemitic tropes, describing efforts to eradicate antisemitism as a conspiracy by “billionaire donors, pro-Israel groups, other litigants, and segments of the media” to squelch criticism of Israel and harm Arab students and academics. It also disparaged the International Holocaust Remembrance Alliance’s (IHRA) definition of antisemitism, calling it a tool of a “militant minority which believes that Israel can do no wrong” and alleging that it is “unconstitutional” and the bedrock of a larger plan of a “social engineering movement” to abolish the First Amendment of the US Constitution. A federal judge ultimately threw the case out of court.
The following year, the University Pennsylvania pledged in a report on antisemitism that it would never again confer academic legitimacy to antisemitism and formally denounced the boycott, divestment, and sanctions (BDS) movement against Israel as “discriminatory” and “anti-intellectual.” The university also passed other policies aimed at protecting academic freedom and free speech from attempts to invoke them as justification for uttering hate speech and founded the Office of Religious and Ethnic Interests, which the AAUP is now accusing of breaking the law.
The AAUP has defended antisemitic speech before.
In 2014, it accused the University of Illinois Urbana-Champaign of violating the tenets of academic freedom when it declined to approve the hiring of Steven Salaita because he uttered a slew of antisemitic, extramural comments on social media, such as “Zionists transforming ‘antisemitism from something horrible into something honorable since 1948,” “Every Jewish boy and girl can grow up to be the leader of a murderous colonial regime,” and “By eagerly conflating Jewishness and Israel, Zionists are partly responsible when people say antisemitic s—t in response to Israeli terror.”
An AAUP report that chronicled the incident, which mushroomed into a major controversy in academia, listed those tweets and others but still concluded that not hiring Salaita “acted in violation of the 1940 Statement of Principles of Academic Freedom and Tenure” and “cast a pall of uncertainty over the degree to which academic freedom is understood and respected.” At the same time, the AAUP said that it was “committed to fighting systemic racism and pursuing racial justice and equity in colleges and universities, in keeping with the association’s mission to ensure higher education’s contribution to the common good.”
Other actions have moved the AAUP further into the world of left-wing anti-Zionism, tarnishing its image as a bipartisan guardian of scholarship and inquiry.
Following Hamas’s massacre across southern Israel on Oct. 7, 2023, two and a half weeks passed before the AAUP commented on the ensuing conflict between Israel and Hamas, and when it did, the group said nothing about the Palestinian terrorist group’s atrocities, instead discussing the importance of academic freedom. At the time, many professors cheered Hamas’s violence and encouraged extreme anti-Zionist demonstrations in which masses of students and faculty called for the elimination of the Jewish state “from the river to the sea,” which is widely interpreted as a call for genocide.
In August 2024, the AAUP issued a statement in support of academic boycotts, a seismic decision which reversed decades of policy and cleared the way for scholar activists to escalate their efforts to purge the university of Zionism and educational partnerships with Israel.
Coming amid a bitter debate about the Israeli-Palestinian conflict on college campuses and Israel’s war to eradicate Hamas from the Gaza Strip, the statement did not mention the Jewish state specifically, but its countenancing the anti-Israel BDS movement was made clear, according to Jewish and pro-Israel leaders, by a section of the statement which said that boycotts “can legitimately seek to protect and advance the academic freedom and fundamental rights of colleagues and students who are living and working under circumstances that violate that freedom and one or more of those rights.”
In March, the AAUP held a webinar which promoted false claims about Israel’s conduct in the war with Hamas in Gaza.
Titled “Scholasticide in Palestine,” the virtual event accused Israel of “scholasticide” and “exterminationist” tactics of war. Such accusations cite damages sustained by education institutions and loss of life in Gaza, but rather than describing those misfortunes as inevitable consequences of a protracted war that Hamas started by launching the surprise Oct. 7 massacre, those leading the AAUP event argued that Israel’s aim was to murder educators and erase Palestinian history and culture.
“We are very concerned that AAUP, whose stated mission includes representing all academics and ensuring ‘higher education’s contribution to the common good’ continues to act in ways that demonize Israel, marginalize Jewish and Israeli members, and promote policies and events that portray a one-sided, politicized view of complex issues,” Jonathan Greenblatt, chief executive officer of the Anti-Defamation League (ADL), said at the time.
Follow Dion J. Pierre @DionJPierre.
