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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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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
The post Conservative and Christian movies are coming for Hollywood appeared first on The Forward.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
The post ‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons appeared first on The Forward.
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Netanyahu’s Torah exemption pledge highlights election stakes
Sometimes a statement can contain multitudes, or at least provide a crystallizing moment in an election campaign. So it was when Benjamin Netanyahu, while criticizing the detention of about 40 Haredi draft evaders by military police at Ben-Gurion Airport this week, declared in a radio interview: “We need to protect the world of the Torah … But whoever doesn’t study must serve in the military.”
Netanyahu was effectively saying that yeshiva study should continue to be, as it has been under an informal arrangement, a free pass out of military service – and he went on to repeat a pledge to turn this into law. It is a position opposed by the overwhelming majority of Israelis.
The statement came amid such a calamitous two-week stretch for Netanyahu’s campaign leading up to the Oct. 27 election that it has some people joking that agents of the opposition might have infiltrated Likud headquarters and taken charge.
In a tragicomic episode, one of Netanyahu’s chief propagandists called leading opposition candidate Gadi Eisenkot – a former military chief who is of Moroccan Jewish background – a “monkey” who is under the control of Ashkenazi elites.
Yinon Magal, who has described himself as a vessel for Netanyahu’s messaging, made the comments on Channel 14, the pro-Netanyahu propaganda TV channel where he is the leading host. He later filmed himself explaining that the simian reference, in Israel’s mafia parlance, merely refers to a junior criminal who is a puppet of more heavyweight mafiosi. His clarification did little to stem the tide of criticism.
As Netanyahu awkwardly tried to distance himself, he also charged that opposition figures had used racist slurs, referring to a recent podcast interview with businesswoman Galia Albin in which she said his supporters are Mizrahis who plan to vote for him mindlessly.
Then came leaked comments (made last year) by Haredi Rabbi Dov Lando, leading spiritual leader of the Netanyahu-allied United Torah Judaism party – proclaiming that Zionism had brought disasters upon the Jewish people, that life under Arab rule would have been preferable and that religious Zionist soldiers were being killed because their rabbis taught them “distorted Torah.” Once again, outrage boiled over, and received mostly silence from the Likud.
Donald Trump’s enthusiastic endorsement of Netanyahu might have qualified as good news – but the U.S. president seemed to connect a Bibi reelection to a renewed assault against Iran. That rests on the dubious assumption that Israelis are eager for another few weeks (or more) in bomb shelters.
A punctuation mark arrived a few days later with reports, albeit unverified, that Netanyahu actually had planned to attack Iran earlier this month but was blocked by Trump. Many expected that scenario, which would have been interpreted as a gambit to delay, by dint of national emergency, an election in which he’s badly trailing in credible polls.
Polling is not available on every such twist and turn of the campaign, but decades of studying Israel and a nose to the ground tell me none of this is popular. And there is no question that most Israelis want to end the draft evasion by Haredim. Recent polls put support for that at 85 percent, which essentially means all non-Haredim.
The issue, as I have said before, is easily the most effective axe for the opposition to grind – because the current situation with the Haredim is utterly untenable.
Tens of thousands of Haredi men of military age remain outside the draft system, while soldiers and reservists from other communities carry an increasingly intolerable burden that has ,in many cases, reached hundreds of days a year.
Whether all those registered as yeshiva students genuinely study – a central question for some people – should be beside the point. Why should Torah study confer a privilege unavailable to Israelis studying physics, medicine, engineering or law? Why should one form of education exempt citizens from defending the country while every other form does not?
The consequences of the Haredi parties’ extortion extend far beyond the army. Israel has created an incentive system in which prolonged religious study preserves military exemptions, public subsidies and a way of life often characterized by economic dependence. Many Haredi educational institutions reject the core curriculum essential for participation in a modern workforce, even as the state helps finance them.
This is an extraordinary arrangement for a country whose security depends on its economic strength, and whose economic strength depends on scientific education, technological innovation and a highly skilled workforce.
Demography makes the issue existential. Haredim already account for roughly one-sixth of Israel’s population, and their exceptionally high birth rates – almost seven children per family on average – mean their share will continue to skyrocket. Unless patterns of education, employment and military participation change dramatically, Israel faces the prospect of an ever-smaller proportion of its citizens supporting and defending an ever-larger population.
The danger is compounded by the mobility of the people on whom Israel’s prosperity depends. Engineers, scientists, entrepreneurs and physicians have opportunities elsewhere. If enough conclude that the country’s trajectory has become irreversible, the resulting brain drain could be catastrophic.
Earlier this year, my friend Rabbi Hershel Grossman arranged for me to meet senior rabbis associated with the Mir and Hebron yeshivot. They were gracious and pleasant, but strikingly candid about their opposition to compulsory core education, military service and ordinary employment whenever these conflicted with Torah study. More troubling was their confidence that demographic change would eventually give their community decisive political power.
The necessary alternative is a comprehensive overhaul of the incentives governing Haredi education, military service and employment. Every child should receive a core curriculum. Young adults should perform military or meaningful national service, with appropriate accommodations for religious observance. Public funding should encourage economic participation rather than prolonged dependence.
Opposition parties promise various versions of such plans. None of this will be easy, and it will not be accomplished by dialogue alone. But the alternative is a version of national suicide. There is no question that – alongside accountability for Oct. 7 and the demand for an independent state commission of inquiry – the future of Haredi military service, education and economic participation belongs at the center of this election.
So why would Netanyahu effectively say that studying Torah should entitle an able-bodied young man to exemption from military service?
There are several possible explanations for this – and the rest of the parade of seeming political misjudgments.
One might be a calculated strategy of mobilizing the base through fear and resentment rather than persuading the center. This might be useful in various scenarios involving a messy outcome of the election.
The others might be overpowering hubris, a toxic contempt for the public or the myriad other pathologies that often accompany too long a time in power.
The post Netanyahu’s Torah exemption pledge highlights election stakes appeared first on The Forward.

