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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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US Intelligence Indicates China Preparing Weapons Shipment to Iran
The Pentagon building is seen in Arlington, Virginia, U.S. October 9, 2020. Photo: REUTERS/Carlos Barria
US intelligence indicates China is preparing to deliver new air defense systems to Iran within the next few weeks, CNN reported late on Friday, citing three people familiar with recent intelligence assessments.
The network said there are indications that Beijing is working to route the shipments through third countries to mask their origin.
The US State Department, the White House, the Chinese embassy in Washington and China’s foreign ministry did not immediately respond to Reuters requests for comment.
Beijing is preparing to transfer shoulder-fired anti-air missile systems known as MANPADs, CNN said, citing sources it did not name.
The US and Iran are set to hold high-level negotiations on Saturday in Pakistan’s capital Islamabad, seeking ways to end their six-week-old war.
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US-Iran Talks Begin, Trump Says Hormuz Strait ‘Clearing’ Underway
Pakistani flags flutter near the Parliament House, as delegations from the United States and Iran are expected to hold high-stakes talks, in Islamabad, Pakistan, April 11, 2026. REUTERS/Akhtar Soomro
US and Iranian negotiators held their highest-level talks in half a century on Saturday in Pakistan to try to end their war even as President Donald Trump said his military had sunk Tehran’s mine-layers and was clearing the Strait of Hormuz.
“We’re now starting the process of clearing out the Strait of Hormuz as a favor to Countries all over the World,” Trump posted, saying 28 Iranian mine-dropping vessels had been destroyed.
Iran’s state-affiliated Nournews called that “false news.”
Amid conflicting reports, Iranian state TV added that no US ships had crossed the strait, a crucial transit point for global energy supplies that Tehran has effectively blocked but Trump has vowed to reopen.
The waterway, which lies on Iran’s southern coast, was one of the main points on the agenda in Islamabad for the first direct US-Iranian talks in more than a decade and the highest-level discussions since the 1979 Islamic Revolution.
Trump’s Vice President JD Vance, special envoy Steve Witkoff and son-in-law Jared Kushner flew in on Saturday and met Iranian Parliamentary Speaker Mohammad Baqer Qalibaf and Foreign Minister Abbas Araqchi for two hours before a rest, according to a source from mediator Pakistan.
The Iranian delegation had arrived on Friday dressed in black in mourning for Supreme Leader Ayatollah Ali Khamenei and others killed in the six-week war. They carried shoes and bags of some students killed during the US bombing of a school next to a military compound, the Iranian government said.
“There were mood swings from the two sides and the temperature went up and down during the meeting,” said another Pakistani source of the first round of talks.
PROGRESS OF NEGOTIATIONS UNCLEAR
The war has sent global oil prices soaring, killed thousands of people and seen unprecedented hits on Gulf Arab states.
Amid conflicting versions from officials and media in both nations, the US and Iranian sides appeared to remain far apart.
Before the talks began, a senior Iranian source told Reuters the US had agreed to release frozen assets in Qatar and other foreign banks. But a US official swiftly denied that.
As well as release of assets abroad, Tehran is demanding control of the Strait of Hormuz, payment of war reparations and a ceasefire across the region including in Lebanon, according to Iranian state TV and officials.
Trump’s stated goals have varied during the campaign, but as a minimum he wants free passage for global shipping through the strait and the crippling of Iran’s nuclear enrichment program to ensure it cannot produce an atomic bomb.
US ally Israel, which joined the February 28 attacks on Iran that launched the war, has also been bombing Tehran-backed Hezbollah terrorists in Lebanon, killing nearly 2,000 people.
Israel and the US have said Lebanon is not part of the Iran-US ceasefire.
Mutual distrust is high.
“We will negotiate with our finger on the trigger,” Iranian government spokesperson Fatemeh Mohajerani said on state TV.
“While we are open to talks, we are also fully aware of the lack of trust; therefore, Iran’s diplomatic team is entering this process with maximum caution.”
Tehran’s agenda includes aiming to collect transit fees in the Strait of Hormuz, a chokepoint for about 20 percent of global oil and liquefied natural gas shipments.
The biggest ever disruption there has fed inflation and slowed the global economy, with an impact expected to last for months even if negotiators succeed in reopening the strait.
Nevertheless, three Liberian- and Chinese-flagged supertankers did pass through the strait on Saturday, shipping data showed, marking what appeared to be the first vessels to exit the Gulf since last week’s US-Iran ceasefire.
STRIKES ON LEBANON
Strikes on southern Lebanon continued on Saturday morning, Lebanese state media said. Reuters reporters heard an Israeli surveillance drone flying over the capital Beirut from Friday night into the next morning and warplanes broke the sound barrier twice over the city.
Hezbollah announced it had conducted several military operations against Israeli positions on Saturday, both within Lebanese territory and in northern Israel.
Israeli and Lebanese officials plan talks in the US on Tuesday.
For the US-Iran talks, Islamabad, a city of just over 2 million people, was under unprecedented lockdown with thousands of paramilitary personnel and army troops on the streets.
Pakistan’s mediating role is a remarkable transformation for a nation that was a diplomatic outcast a year ago.
“This was a world war that Pakistan stopped. It played a big role and we should appreciate it,” said dry cleaner Nasir Khan Abbasi at a market in Islamabad. “I really like this and I feel great that Pakistan’s name is shining in the world.”
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Middle East War to Cut Growth, Deliver Cascading Impact, World Bank Chief Says
FILE PHOTO: World Bank President Ajay Banga gives remarks during a forum held at the Atlantic Council building in Washington, D.C., U.S., April 7, 2026. REUTERS/Aaron Schwartz/File Photo
The war in the Middle East will have a cascading impact on the global economy, even if a ceasefire announced by US President Donald Trump takes hold, World Bank President Ajay Banga told Reuters in an interview on Friday.
And the damage will be far deeper if the ceasefire fails and the conflict escalates, he said.
Banga on Tuesday said global growth could be lowered by 0.3 to 0.4 percentage point in a baseline scenario, with an early end to the war, and by as much as 1 percentage point if it endures. Inflation could increase by 200 to 300 basis points, with a much higher impact – of up to 0.9 percentage point – if the war continues, he said.
The World Bank’s baseline estimate now projects growth in emerging markets and developing economies of 3.65% in 2026, compared to 4% in October, dropping as low as 2.6% in an adverse scenario with a longer-lasting war. Inflation in those countries was now forecast to hit 4.9% in 2026, up from the previous estimate of 3%. The extreme scenario could see inflation rising as high as 6.7%, according to estimates viewed by Reuters.
The war, which has killed thousands of people across the Middle East, has sent the price of oil up by 50% while disrupting supplies of oil, gas, fertilizer, helium and other goods, as well as tourism and air travel.
The two-week ceasefire announced by Trump appears tenuous, with Israel and Iran continuing strikes. Iran said on Friday that blocked Iranian assets must be released and a ceasefire must take hold in Lebanon before US-Iran talks, scheduled for Saturday in Pakistan, can proceed. Trump said that US warships were being reloaded with ammunition in case the talks failed.
“The question really is, does this current peace and the negotiations that are going to be happening this weekend – will this lead to a lasting peace and then a reopening of the Strait (of Hormuz)?” said Banga. “If it doesn’t lead to that, and if conflict were to break out again, would that have an even larger impact, or longer-term impact on energy infrastructure?”
Banga said the world’s largest development bank was already in discussions with some developing countries, including small island states with no natural energy resources, about tapping funds from existing programs under “crisis response windows.”
The World Bank’s crisis toolkit allows countries to tap previously approved but not yet disbursed funds without additional board approvals, increasing flexibility.
But Banga said the bank was cautioning countries to avoid setting up energy subsidies that they could not afford, which would trigger even bigger problems in the future.
“I worry about making sure that they can come through this crisis, targeting what they need to do, but not doing anything that further deteriorates that fiscal space,” he said.
Many developing countries also have high debt levels and interest rates remain high, which constrains their ability to borrow money to fund measures to respond to the jump in energy costs and other goods caused by the war.
The crisis has put a fresh spotlight on the need for countries to diversify energy supplies and boost self-sufficiency, Banga said. The World Bank last June ended a longstanding ban on funding nuclear energy projects as part of a push to meet rising electricity needs.
Nigeria, which had long faced problems, stood to benefit from a $20 billion investment made by the Dangote Group in refineries, which had actually increased output during the war, and was now supplying aviation fuel to neighboring countries.
“Nigeria should be breathing a sigh of relief. They’ve built up the ability to have energy security for themselves through that huge investment,” he said. “It’s actually a really good example of the right thing being done in terms of energy self-sufficiency for them, but also for their neighbors.”
The World Bank is also working closely with Mozambique, another African country, to expand its energy production capabilities in both natural gas and hydropower.
The World Bank had many energy products in the pipeline, Banga said, noting that talks were under way with some countries looking to extend the life of their fleets of nuclear reactors, and others keen to move into nuclear power.
“If you don’t get nuclear and hydro and geothermal going at scale, along with wind and solar, they will end up doing more with traditional fuels, and nobody really wants that,” he said.