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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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The Jewish Brigade fought fascism in Italy. Now its flags spark protests.

(JTA) — When the Jewish Brigade appears today in Italian public debate, it is rarely about the British Army unit, formed largely by Jewish volunteers from Mandatory Palestine, that was sent to fight in Italy in the final months of the Second World War.

The Jewish Brigade has become a screen onto which other conflicts are projected: Zionism and anti-Zionism, antisemitism, Israel and Palestine, the meaning of antifascism and the ownership of public memory.

This is why recent tensions in Milan and Rome during Italy’s Liberation Day commemorations were not simply disputes about flags or parades. They were symptoms of a deeper problem: the difficulty of allowing history to remain history, while also recognising that memory is always political.

On April 25, Italy celebrates its liberation from Nazi occupation and fascist rule. It is the most important civil holiday of the Italian Republic, a foundational moment in the country’s democratic identity. But precisely because it is so symbolic, it has always been a stage on which the political tensions of the present are acted out.

The Jewish Brigade occupies a peculiar place in this story. Militarily, its contribution to the Allied campaign in Italy was limited. The Brigade arrived late at the front, in early 1945, and fought for only a short time. Its soldiers were deployed in Romagna, north of Ravenna, along the Lamone, and later near Riolo Terme and the Senio river. About 50 of its soldiers died.

Yet to measure the Brigade only by military impact is to misunderstand its historical significance. Its importance was symbolic, political and psychological. These were Jews in uniform, fighting under a flag marked by the Star of David, against the army of the regime that had attempted to annihilate European Jewry. For many of the volunteers, especially those who were committed Zionists, service in Italy represented more than participation in the Allied war effort. It was a form of Jewish self-assertion, and a claim to political dignity before the world.

This is one reason the Brigade mattered then. It also helps explain why it matters now.

After the war, the memory of the Jewish Brigade did not immediately become central to Italian public memory. For decades it remained relatively marginal, preserved above all within parts of the Jewish community and in the recollections of veterans. Its later rediscovery, especially from the 1990s and 2000s, coincided with new struggles over the meaning of April 25. Some Italian Jewish communities began to bring the Brigade’s flag into Liberation Day commemorations to remind the public that Jews had not only been victims of fascism and Nazism. They had also been combatants, liberators and political actors.

That reminder was, and remains, historically legitimate. Italian Jews belong fully to the history of the Resistance and to the history of the Republic that emerged from the defeat of fascism. The Jews of Mandatory Palestine who served in the Jewish Brigade also belong to the history of Italy’s liberation, however brief their time at the front. They fought in Italy, against German forces, alongside other Allied soldiers and alongside the reborn Italian army. To deny their place in that history is not a neutral act of historical correction. It is an exclusion.

At the same time, it is clear that the Brigade has become controversial not only because of what it did in 1945, but because of what its flag is understood to mean today. The flag of the Jewish Brigade is virtually identical to the later flag of the State of Israel. For some, this makes it a proud symbol of Jewish resistance to Nazism and of the Jewish contribution to liberation. For others, especially in the context of the Israeli-Palestinian conflict, it is read primarily as a symbol of Israel and therefore as a political provocation.

This is the heart of the problem. The dispute is often presented as a debate about history, but it is in fact a debate about the present. People argue about the Brigade because they are really arguing about the legitimacy of Zionism, about whether anti-Zionism can become antisemitism, about whether Israel should be understood as a national project or an imperial one, and about what antifascism should mean today. These questions generate fierce disagreements, and April 25 gives them a highly charged public stage.

There are two competing visions of Liberation Day. One sees April 25 primarily as a historically defined Italian commemoration: the day on which the country remembers those who fought between 1943 and 1945 to free Italy from Nazi-fascism. In this interpretation, the Jewish Brigade clearly has a place, because it took part in that struggle. Palestinian flags, by contrast, are harder to place within that specific historical frame, not because Palestinians were fascists, but because they were not participants in the liberation of Italy.

The other vision is more dynamic and internationalist. It sees April 25 not only as the commemoration of a past event, but as an annual reaffirmation of resistance to oppression in the present. In this interpretation, the presence of Palestinian flags, Ukrainian flags, Iranian dissidents or other contemporary causes can be understood as part of a broader antifascist language. April 25 becomes not only the memory of Italy’s liberation, but a ritual of solidarity with those who resist domination elsewhere.

The Jewish Brigade forces us to confront this tension. It belongs to the historical April 25 because it helped liberate Italy. It also belongs to the broader moral history of antifascism because it embodied Jewish armed resistance to Nazism. But its memory is now inseparable from the unresolved political and psychological impact of the Israeli-Palestinian conflict on Italian, and indeed international, public life.

This does not mean that every criticism of Israel is antisemitic. It is not. Nor does it mean that Jewish history should be used to silence Palestinian suffering. It should not. But it does mean that excluding Jews from an antifascist march, insulting people carrying the symbols of the Jewish Brigade, or treating Jewish participation in Liberation Day as illegitimate is a profound historical and moral failure. Antifascism without Jews is not antifascism. An April 25 in which Jews are tolerated only if they hide the symbols they decide to choose is not a healthy democratic ritual.

The answer is not to turn the Jewish Brigade into a weapon in today’s political battles. Nor is it to erase it in the name of avoiding controversy. The answer is to recover the complexity of its history. The Brigade was a military unit, but also a symbol. Its soldiers were liberators in Italy, survivors or relatives of victims of European catastrophe, Zionists of different kinds and human beings who often carried grief, hope and a desire for revenge. Their story links the Holocaust, the Second World War, the end of empire, the birth of Israel and the politics of memory in postwar Italy.

That is why the Jewish Brigade matters today. It reminds us that history cannot be reduced to slogans, that memory can both illuminate and distort, and that democratic societies must make room for complexity and uncomfortable truths.

The views and opinions expressed in this article are those of the author and do not necessarily reflect the views of JTA or its parent company, 70 Faces Media.

The post The Jewish Brigade fought fascism in Italy. Now its flags spark protests. appeared first on The Forward.

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Jerusalem Pride march turns toward the Knesset as LGBTQ Israelis eye pivotal election

(JTA) — JERUSALEM — The Pride march in Israel’s capital city changed its traditional route on Thursday to end near the Knesset, in a show of force ahead of elections that could have major implications for the status of LGBTQ Israelis.

“If the current government has a problem with LGBTQ+ people, then the current government can go home, because the community is here to stay,” opposition leader Yair Lapid said during the culminating rally.

Jerusalem’s Pride march is always more muted than the raucous celebration that takes place each June in Tel Aviv. But this year, the looming election, which must be held by Oct. 27, galvanized participation.

More than 10,000 Israelis gathered in Sacher Park for the rally, according to Noa Fisher of the Jerusalem Open House, the LGBTQ+ equality organization that organizes the event.

“It’s always more like a protest than anything else. This year, especially,” said Hadas Bloemendal, chair of the Jerusalem Open House, walking alongside the crowd with her baby in a stroller.

“I’m supposed to be on maternity leave,” she said. “But this year, I had to be here.”

The status of LGBTQ Israelis is complex. While the country has a thriving gay culture and the speaker of the Knesset is openly gay, same-sex marriage is prohibited by law and some haredi Orthodox lawmakers have spoken with disdain about LGBTQ people and said they want to see their rights rolled back. The elections this fall will determine whether those lawmakers retain power in the next government.

Michal Rozin, a former lawmaker from the liberal Meretz party, urged rally-goers on Thursday to boo after recounting a 2023 comment by a member of the United Torah Judaism party, a partner in the governing coalition, who said the LGBTQ community is “the most dangerous thing for the State of Israel, more than Islamic State, more than Hezbollah, more than Hamas.” (He was commenting during Pride month, before Hamas’ Oct. 7 attack on Israel.)

Avi Maoz, an anti-LGBTQ politician who was part of the current government until last year, called this year’s march an “abomination” in a post on social media on Thursday.

The rally marked 11 years since 16-year-old Shira Banki was killed when a haredi Orthodox man stabbed six Jerusalem Pride attendees, weeks after being freed from prison after staging a similar attack a decade earlier.

“Some of the friends she walked with are still, today, volunteering. That’s what echoes the most, what she chose to do,” Bloemendal said.

Security was intense Thursday, and the gathering area before the march was completely sealed off. More than 2,000 Israel Police officers and border agents were dispatched to protect the march, according to Israeli police spokesperson Dean Elsdunne.

Behind a wall of tour buses was a counter-demonstration hosted by the extremist group Lehava, which opposes Jewish-Arab coexistence and gay relationships. By the time the march left Sacher Park for the Rose Garden near the Knesset, only a few dozen men remained in the heavily policed and cordoned-off area.

“Those standing outside and protesting against us have forgotten what it means to be Jewish and have forgotten what it means to be human,” Lapid said from the stage.

Despite the counter-protest, spirits were high at the rally, where attendees said they were determined to make their voices heard at a time when they feel their country is closing itself off to LGBTQ+ life.

“The LGBTQ+ community is present everywhere that the fate of this country is being written,” Rozin said in her speech. “But there are those who continue to incite against it.”

Lapid has long made LGBTQ+ equality a central tenet of his platform. His alliance this year with Naftali Bennett (a religious Zionist who historically opposed same-sex marriage) is notable in part because Bennett announced at their April 26 press conference announcing a joint campaign that a government under his leadership would advance same-sex marriage in Israel.

Marriage in Israel is regulated by the Rabbinate, which prohibits LGBTQ+ unions, leaving many couples to wed abroad and petition to have those marriages recognized at home. Lapid promised that “in the first 100 days of the next government, we will bring legislation that says the rights of every couple in Israel will be equal. Mom and dad, dad and dad, mom and mom —  everyone the same rights.”

The nearly 10,000 attendees gathered beneath different banners and identities, some flying the flags of their youth movements, from socialist to LGBTQ+ organizations, to different political factions, including the Democrats, which made a significant showing at the event.

Drummers from the Pink Front led the rally toward the Rose Garden near the Knesset, passing through a tunnel, with chants echoing off the stone walls.

Shira Zagury, CEO of Shira Banki’s Way, founded by Banki’s parents the year after her murder to build coexistence and pluralism in Israeli society, said the march “continues to mark a moment of inclusion and positivity.”

Before the march set off for the Rose Garden near the Knesset, Rabbi Tamar Elad-Appelbaum recited the Traveler’s Prayer, praying for the marchers’ safety and alluding to Banki’s death nearly 11 years before.

“In the face of violence, hatred, and attempts to send us back into the closet, we will march this year and every year and say, ‘We are here to stay,’” she said.

The post Jerusalem Pride march turns toward the Knesset as LGBTQ Israelis eye pivotal election appeared first on The Forward.

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British government backs NHS antisemitism reforms that would restrict political symbols

(JTA) — Doctors and nurses in the U.K. could soon be banned from wearing pro-Palestinian and pro-Israel symbols at work following recommendations from the British government’s independent advisor on antisemitism.

The advisor, Lord John Mann, delivered 36 recommendations to tackle antisemitism across the National Health Service in a report that the government formally accepted on Thursday.

“Jewish people and everyone experiencing discrimination need action, not words,” Secretary of State for Health James Murray said in accepting the recommendations for the country’s publicly funded healthcare system.

Prime Minister Keir Starmer charged Mann with tackling antisemitism in the NHS in October, soon after an attack on a Manchester synagogue in which two Jewish men were killed.

The review followed multiple high-profile incidents of alleged antisemitism within the health care system, including where Jewish patients said they were uncomfortable or unable to receive care from workers whose pro-Palestinian signifiers were at odds with the patients’ support for Israel.

Mann’s investigation documented “routine ostracism” of Jews within parts of the health service, Jewish doctors who considered leaving their jobs because of antisemitism and Jewish patients who said they were afraid to seek NHS treatment because they feared antisemitism in doing so.

Calling such a climate “never acceptable,” Mann said changes are needed, including to the NHS dress code, which has not been updated recently to address political symbols. He said he believed political symbols should be banned inside NHS facilities and NHS workers should be barred from wearing their uniforms to political rallies.

“The firm position of this review is that political identifiers do not have a place in the NHS,” Mann wrote, adding, “To be more specific, saying ‘Free Palestine’ or ‘I love Israel’ are reasonable beliefs and expressions but the identification of such views or beliefs on public facing NHS owned profiles might, in of themselves, be a barrier to patients.”

The report also calls for tracking data about Jewish patients to be able to monitor their satisfaction and medical outcomes, training health care workers about antisemitism and improving systems to handle patients’ discrimination complaints.

No timeline for implementation is laid out, but Murray said changes would be rolled out “without delay” and a first progress report would be published by the end of the year.

Unison, a public service employees union that includes NHS workers, said it opposes antisemitism and praised some of Mann’s recommendations but raised questions about the dress code regulations. “There’s a real risk precious time and resources will be spent trying to define a political badge and what staff can wear in their own time,” it said in a statement.

British Jewish groups applauded the report. The Board of Deputies of British Jews’ Vice President Karen Newman thanked Mann and said the Board “has long made the case for many of the measures included in this report.” Among them, she said, were “training, staff accountability, uniform guidance, recording of Jewish ethnicity, and empowerment of Jewish staff networks.”

Newman also noted that several of the recommendations were included in the board’s July 2025 Commission on Antisemitism report, which Mann jointly chaired.

The Jewish Medical Association said the reforms would ensure “accountability for protection from discrimination” for both Jewish staff and patients and other minorities, and the Community Security Trust said it welcomed Mann’s recommendations and “the clear recognition that antisemitism must be addressed urgently across the NHS.”

Concerns about whether people perceived to be Jewish or pro-Israel can safely receive medical care from pro-Palestinian workers has ratcheted up anxiety in Jewish communities around the world, fueled by viral incidents such as an Australian nurse who filmed herself threatening Jewish patients last year.

Ahead of Lord Mann report’s, the British network ITV News aired an interview with an Orthodox Jewish doctor who quit his NHS job and moved to Israel this week with his family, citing rising antisemitism in England.

Dr. Boruch Michaels lived in the heavily Orthodox Jewish London neighborhood of Golders Green, where a spate of recent attacks on Jewish targets. Among the issues he told ITV that he had seen at work were other doctors refusing to treat Israeli patients and staff refusing to give Jewish patients kosher meals.

He said, “If they are dying and in A&E [the emergency room] I’ve been told by doctors that if they’re from Israel then they will not treat that person.”

Mann did not comment publicly on the doctor’s account but said in making his recommendations, “Jewish people have to be confident that they will receive the same treatment as everyone else, at all times in all situations.”

Speaking to the BBC on Wednesday night, Mann elaborated on his views about the political signifiers in the workplace. (Neither he nor the report specifically mentioned keffiyehs, signifiers of Palestinian solidarity that some Jews and allies of Israel interpret as support for violence.)

“An ‘I support Palestine’ badge, or anything like that, is a problem for some people, just in the same way as an ‘I support Israel’ badge is a problem for some people. Don’t wear either,” he said.

More broadly, Mann said, workers should not be bringing their views into the NHS. “The stronger the views the bigger the problem,” he said.

The post British government backs NHS antisemitism reforms that would restrict political symbols appeared first on The Forward.

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