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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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Eurovision Faces Major Test as Countries Weigh Israel’s Participation
Construction work is ongoing in the main hall of Wiener Stadthalle the venue of next year’s Eurovision Song Contest, in Vienna, Austria, Nov. 18, 2025. Photo: REUTERS/Leonhard Foeger
The Eurovision Song Contest faces a “watershed moment” on Thursday when members of the body that organizes the contest may vote on whether Israel can compete in 2026, as some nations threaten to withdraw if it is not excluded due to the Gaza war.
European Broadcasting Union members will convene to discuss new rules designed to prevent governments and third parties from disproportionately promoting songs to influence voters after controversy this year over Israel’s second-place win.
If members are not convinced the rules are adequate, there will be a vote on participation, the EBU said, without naming Israel specifically.
Public broadcasters from Slovenia, Ireland, Spain, and the Netherlands have all threatened to boycott the event, scheduled for May in Austria, if Israel is allowed to take part, citing concern over the Palestinian death toll in Gaza, where Israeli forces had been waging a military campaign against the ruling terrorist group Hamas until a recently implemented ceasefire.
EUROVISION AIMS TO BE NON-POLITICAL
The televised annual celebration of pop music, watched by around 150 million viewers worldwide, aims to be non-political, but the Gaza war has embroiled it in controversy. A boycott by some of the competition’s biggest European backers, including Spain, risks a major drop in audience numbers and potential sponsorship.
This year, critics accused Israel of unfairly boosting the second-place finish of its entrant Yuval Raphael, a survivor of the Oct. 7, 2023, attack on Israel by Hamas terrorists that triggered the conflict. Israel has not responded to these accusations but frequently argues it has faced a global smear campaign.
“We very much hope the package of measures will assure members that we have taken strong action to protect the neutrality and impartiality of the Song Contest,” the EBU said.
Eurovision expert Paul Jordan, who did a PhD on the contest, said it was a “watershed moment” for the competition.
“This is a real crisis point for Eurovision and the EBU … I think it probably has to go to a vote,” Jordan said.
Ben Robertson from fan site ESC Insight noted the potential impact of a loss in audience, but added without Israeli inclusion, Eurovision risks becoming more isolated.
NORWAY CALLS PROPOSED CHANGES ‘PROMISING’
The Israeli foreign ministry did not respond to a Reuters request for comment.
Luxembourg’s RTL broadcaster backed the proposed changes, while Norway’s NRK broadcaster described the EBU’s signal of major change as “promising.”
If a vote against Israel were successful, Germany would probably withdraw and not broadcast the contest, a broadcasting industry source told Reuters. German broadcaster ARD did not comment. Austrian host broadcaster ORF wants Israel to compete.
Sources within Israeli broadcaster KAN told Reuters it believed discussions about excluding Israel were unjustified, asserting that KAN was in full compliance with EBU rules. It also noted KAN’s support for Israeli acts that have delivered what they described as memorable Eurovision performances.
Russia has been excluded from Eurovision since its 2022 invasion of Ukraine.
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Belgian Police Detain Former EU Foreign Policy Chief Mogherini in Fraud Probe
European Union VIce Presiden and High Representative for Foreign Affairs and Security Policy Federica Mogherini (L) is seen during a talk with Vietnam’s Deputy Prime Minister and Foreign Minister Pham Binh Minh in Hanoi, Vietnam, Aug. 5, 2019. Photo: REUTERS/Kham
Belgian police on Tuesday detained former European Union foreign policy chief Federica Mogherini and a current senior EU diplomat as part of a fraud investigation that included raids at several sites, three sources familiar with the probe said.
The European Public Prosecutor’s Office (EPPO) said the investigation focused on “suspected fraud related to EU-funded training for junior diplomats.” It involved searches at the EU‘s diplomatic service in Brussels, at the College of Europe – an elite university in Bruges that educates many EU officials – and at the houses of suspects.
Mogherini and senior diplomat Stefano Sannino, both Italian nationals, are well known in Brussels diplomatic circles and news of their detentions sent shockwaves through the EU community in Brussels.
Mogherini was the EU‘s high representative for foreign and security policy and head of its diplomatic service from 2014 to 2019. She became rector of the College of Europe in 2020.
TENDER OF TRAINING PROGRAMME PROBED
Sannino previously served as the most senior civil servant in the diplomatic service between 2021 and 2024 and is now director general of the European Commission’s department for the Middle East, North Africa, and the Gulf.
The EPPO said in a statement that three people had been detained but withheld identities, citing the ongoing investigation. Neither Mogherini nor Sannino could be reached for comment.
The prosecutor’s office said its investigation centered on the establishment of the European Union Diplomatic Academy – a nine-month training program for junior diplomats, which was awarded to the College of Europe in 2021-2022 by the EU diplomatic service following a tender procedure.
It said there were “strong suspicions” that confidential information was shared during the process with one of the candidates participating in the tender.
“Prior to the searches, the EPPO requested the lifting of the immunity of several suspects, which was granted,” the statement said. “All persons are presumed innocent until proven guilty by the competent Belgian courts of law.”
A spokesperson for the EU diplomatic service confirmed police visited its offices on Tuesday as part of an investigation into activities that took place before the current foreign policy chief Kaja Kallas took office.
The diplomatic service is “fully cooperating with the authorities,” added the spokesperson, Anitta Hipper. “Since it’s an ongoing investigation, we will not be able to say more.”
The College of Europe said in a statement it would “fully cooperate with the authorities in the interest of transparency and respect for the investigative process.”
“The college remains committed to the highest standards of integrity, fairness, and compliance — both in academic and administrative matters,” it said.
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Pope Urges Middle East to Reject ‘Horror of War’ at End of First Overseas Trip
Pope Leo XIV waves to the crowd during a Holy Mass at the Waterfront, during his first apostolic journey, in Beirut, Lebanon, Dec. 2, 2025. Photo: REUTERS/Mohamed Azakir
Pope Leo bade farewell to Lebanon on Tuesday with a fervent appeal to leaders across the Middle East to listen to their people’s cries for peace and to change course away from the “horror of war.”
The first US pope wrapped up his first overseas trip as Catholic leader by addressing 150,000 people at a Mass on Beirut’s historic waterfront, where he pleaded for Lebanon to address years of conflict, political crises, and economic misery.
Leo said the region as a whole needed new approaches to overcome political, social, and religious divisions.
“The path of mutual hostility and destruction in the horror of war has been traveled too long, with the deplorable results that are before everyone’s eyes,” Leo said. “We need to change course. We need to educate our hearts for peace!”
‘MAY THE ATTACKS CEASE’
Leo has been visiting Lebanon for three days on the second leg of an overseas trip that started in Turkey, in which he has pleaded for peace in the Middle East and warned that humanity’s future was at risk from the world’s proliferating conflicts.
The pope, a relative unknown on the world stage before his election to the papacy in May, has been closely watched as he made his first speeches overseas and interacted for the first time with people outside mainly Catholic Italy.
In Lebanon, he urged the heads of religious sects to unite to heal the country and pressed political leaders to persevere with peace efforts after last year’s devastating war between Israel and Iran-backed Hezbollah, and continued Israeli strikes.
He also asked the international community “to spare no effort in promoting processes of dialogue and reconciliation” and asked those with “political and social authority” to “listen to the cry of your peoples who are calling for peace.”
In remarks at Beirut’s airport moments before taking off for Rome, Leo made his first apparent reference to Israeli strikes, saying he had been unable to visit Lebanon’s south because it is “currently experiencing a state of conflict and uncertainty.”
“May the attacks and hostilities cease,” he pleaded. “We must recognize that armed struggle brings no benefit.”
Lebanese President Joseph Aoun asked Leo to keep Lebanon in his prayers, saying: “We have heard your message. And we will continue to embody it.”
‘PAIN AFTER PAIN’
Crowds had gathered at the waterfront hours before the start of Tuesday’s Mass. They waved Vatican and Lebanese flags as Leo toured in an enclosed popemobile, offering blessings as some in the crowd used umbrellas to guard against a strong Mediterranean sun.
Maroun al-Mallah, a 21-year-old student of landscape engineering, arrived at the site of Leo’s Mass before dawn to volunteer and said the visit could be a reset for Lebanon.
“It was lovely to know there was a sign of hope coming back to Lebanon,” Mallah told Reuters.
“Even in university, we just think what could come next. It’s just pain after pain after pain … especially after the third biggest explosion happened” at the port, he said.
Earlier on Tuesday, Leo visited a psychiatric hospital run by Franciscan nuns and prayed near rubble at the Beirut port, where a 2020 chemical explosion shredded parts of Beirut.
The blast killed more than 200 people and caused billions of dollars in damage, but an investigation into the cause has been stymied and no one has been held to account.
Leo laid a wreath of flowers at a memorial there and greeted about 60 blast survivors and relatives of the victims from different religions holding photos of their lost loved ones.
He gave each a rosary in a pouch bearing his coat of arms. One woman sobbed as she greeted Leo and asked if she could give him a hug. He nodded, and they embraced.
Cecile Roukoz, who lost her brother in the blast, said Leo “will raise his voice for justice, and we need justice for all the victims.”
Lebanon, which has the largest proportion of Christians in the Middle East, has been rocked by the spillover of the Gaza conflict as Israel and Lebanese terrorist group Hezbollah went to war, culminating in a devastating Israeli offensive.
The country, which hosts 1 million Syrian and Palestinian refugees, is also struggling to overcome a severe economic crisis after decades of profligate spending sent the economy into a tailspin in late 2019.