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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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21 Arab, Islamic, African States and Entities Condemn Israel’s Recognition of Somaliland
The signatories’ flags enclosed in the statement in Arabic. Photo: Screenshot via i24.
i24 News – A group of 21 Arab, Islamic and African countries, organizations and entities issued on Saturday a joint statement condemning Israel’s recognition of Somaliland sovereignty.
The statement’s signatories said that they condemn and reject Israel’s recognition of Somaliland “in light of the serious repercussions to peace and security in the Horn of Africa and the Red Sea region, and its serious impacts on international peace and security, which also reflects Israel’s clear and complete disregard for international law.”
It was signed by: Saudi Arabia, Egypt, Turkey, Iran, Pakistan, Qatar, Jordan, Algeria, Iraq, Kuwait, Oman, Libya, Palestine, Somalia, Sudan, Yemen, Comoros, Djibouti, Gambia, Maldives, Nigeria and the Organization of Islamic Cooperation (OIC).
The joint statement voiced support “for the sovereignty of Somalia and reject any measures that would undermine its unity, territorial integrity, and sovereignty over all its lands.”
The signatories also “categorically reject linking Israel’s recognition of the territory of the land of Somalia with any plans to displace the Palestinian people outside their land.”
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Nvidia, Joining Big Tech Deal Spree, to License Groq Technology, Hire Executives
A NVIDIA logo appears in this illustration taken Aug. 25, 2025. Photo: REUTERS/Dado Ruvic/Illustration
Nvidia has agreed to license chip technology from startup Groq and hire away its CEO, a veteran of Alphabet’s Google, Groq said in a blog post on Wednesday.
The deal follows a familiar pattern in recent years where the world’s biggest technology firms pay large sums in deals with promising startups to take their technology and talent but stop short of formally acquiring the target.
Groq specializes in what is known as inference, where artificial intelligence models that have already been trained respond to requests from users. While Nvidia dominates the market for training AI models, it faces much more competition in inference, where traditional rivals such as Advanced Micro Devices have aimed to challenge it as well as startups such as Groq and Cerebras Systems.
Nvidia has agreed to a “non-exclusive” license to Groq’s technology, Groq said. It said its founder Jonathan Ross, who helped Google start its AI chip program, as well as Groq President Sunny Madra and other members of its engineering team, will join Nvidia.
A person close to Nvidia confirmed the licensing agreement.
Groq did not disclose financial details of the deal. CNBC reported that Nvidia had agreed to acquire Groq for $20 billion in cash, but neither Nvidia nor Groq commented on the report. Groq said in its blog post that it will continue to operate as an independent company with Simon Edwards as CEO and that its cloud business will continue operating.
In similar recent deals, Microsoft’s top AI executive came through a $650 million deal with a startup that was billed as a licensing fee, and Meta spent $15 billion to hire Scale AI’s CEO without acquiring the entire firm. Amazon hired away founders from Adept AI, and Nvidia did a similar deal this year. The deals have faced scrutiny by regulators, though none has yet been unwound.
“Antitrust would seem to be the primary risk here, though structuring the deal as a non-exclusive license may keep the fiction of competition alive (even as Groq’s leadership and, we would presume, technical talent move over to Nvidia),” Bernstein analyst Stacy Rasgon wrote in a note to clients on Wednesday after Groq’s announcement. And Nvidia CEO Jensen Huang’s “relationship with the Trump administration appears among the strongest of the key US tech companies.”
Groq more than doubled its valuation to $6.9 billion from $2.8 billion in August last year, following a $750 million funding round in September.
Groq is one of a number of upstarts that do not use external high-bandwidth memory chips, freeing them from the memory crunch affecting the global chip industry. The approach, which uses a form of on-chip memory called SRAM, helps speed up interactions with chatbots and other AI models but also limits the size of the model that can be served.
Groq’s primary rival in the approach is Cerebras Systems, which Reuters this month reported plans to go public as soon as next year. Groq and Cerebras have signed large deals in the Middle East.
Nvidia’s Huang spent much of his biggest keynote speech of 2025 arguing that Nvidia would be able to maintain its lead as AI markets shift from training to inference.
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Russian Drones, Missiles Pound Ukraine Ahead of Zelensky-Trump Meeting
Rescuers work at the site of the apartment building hit by a Russian drone during a Russian missile and drone strike, amid Russia’s attack on Ukraine, in Kyiv, Ukraine December 27, 2025. REUTERS/Viacheslav Ratynskyi
Russia attacked Kyiv and other parts of Ukraine with hundreds of missiles and drones on Saturday, ahead of what President Volodymyr Zelensky said would be a crucial meeting with US President Donald Trump to work out a plan to end nearly four years of war.
Zelensky cast the vast overnight attack, which he said involved about 500 drones and 40 missiles and which knocked out power and heat in parts of the capital, as Russia’s response to the ongoing peace efforts brokered by Washington.
The Ukrainian leader has said Sunday’s talks in Florida would focus on security guarantees and territorial control once fighting ends in Europe’s deadliest conflict since World War Two, started by Russia’s 2022 invasion of its smaller neighbor.
The attack continued throughout the morning, with a nearly 10-hour air raid alert for the capital. Authorities said two people were killed in Kyiv and the surrounding region, while at least 46 people were wounded, including two children.
“Today, Russia demonstrated how it responds to peaceful negotiations between Ukraine and the United States to end Russia’s war against Ukraine,” Zelensky told reporters.
In Russia, air defense forces shot down eight drones headed for Moscow, the city’s mayor Sergei Sobyanin said on Saturday.
THOUSANDS OF HOMES WITHOUT HEAT
Explosions echoed across Kyiv from the early hours on Saturday as Ukraine’s air defense units went into action. The air force said Russian drones were targeting the capital and regions in the northeast and south.
State grid operator Ukrenergo said energy facilities across Ukraine were struck, and emergency power cuts had been implemented across the capital.
DTEK, Ukraine’s largest private energy company, said the attack had left more than a million households in and around Kyiv without power, 750,000 of which remained disconnected by the afternoon.
Deputy Prime Minister Oleksiy Kuleba said over 40% of residential buildings in Kyiv were left without heat as temperatures hovered around 0 degrees Celsius (32 degrees Fahrenheit) on Saturday.
TERRITORIAL CONTROL: A DIPLOMATIC STUMBLING BLOCK
On the way to meeting Trump in Florida, Zelensky stopped in Canada’s Halifax to meet Prime Minister Mark Carney, after which they planned to hold a call with European leaders.
In a brief statement with Zelenskiy by his side, Carney noted that peace “requires a willing Russia.”
“The barbarism that we saw overnight — the attack on Kyiv — shows just how important it is that we stand with Ukraine in this difficult time,” he said, announcing 2.5 billion Canadian dollars ($1.83 billion) in additional economic aid to Ukraine.
Territory and the future of the Russian-occupied Zaporizhzhia nuclear plant remain the main diplomatic stumbling blocks, though Zelensky told journalists in Kyiv on Friday that a 20-point draft document – the cornerstone of a US push to clinch a peace deal – is 90% complete.
He said the shape of U.S. security guarantees was crucial, and these would depend on Trump, and “what he is ready to give, when he is ready to give it, and for how long.”
Zelensky told Axios earlier this week that the US had offered a 15-year deal on security guarantees, subject to renewal, but Kyiv wanted a longer agreement with legally binding provisions to guard against further Russian aggression.
Trump said the United States was the driving force behind the process.
“He doesn’t have anything until I approve it,” Trump told Politico. “So we’ll see what he’s got.”
Trump said he believed Sunday’s meeting would go well. He also said he expected to speak with Putin “soon, as much as I want.”
FATE OF DONETSK IS KEY
Moscow is demanding that Ukraine withdraw from a large, densely-urbanized chunk of the eastern region of Donetsk that Russian troops have failed to occupy in nearly four years of war. Kyiv wants the fighting halted at the current lines.
Russia has been grinding slowly forwards throughout 2025 at the cost of significant casualties on the drone-infested battlefield.
On Saturday, both sides issued conflicting claims about two frontline towns: Myrnohrad in the east and Huliaipole in the south. Moscow claimed to have captured both, while Kyiv said it had beaten back Russian assaults there.
Under a US compromise, a free economic zone would be set up if Ukrainian troops pull back from parts of the Donetsk region, though details have yet to be worked out.
Axios quoted Zelensky as saying that if he is not able to push the US to back Ukraine’s position on the land issue, he was willing to put the 20-point plan to a referendum – as long as Russia agrees to a 60-day ceasefire allowing Ukraine to prepare for and hold the vote.
On Saturday, Zelensky said it was not possible to have such a referendum while Russia was bombarding Ukrainian cities.
He also suggested that he would be ready for “dialogue” with the people of Ukraine if they disagreed with points of the plan.
Russian Deputy Foreign Minister Sergei Ryabkov said Kyiv’s version of the 20-point plan differed from what Russia had been discussing with the US, according to the Interfax-Russia news agency.
But he expressed optimism that matters had reached a “turning point” in the search for a settlement.
($1 = 1.3671 Canadian dollars)