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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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‘Mensch of Manhattan’ Lasher wins over Bores in fight for Nadler’s seat, media projects

(New York Jewish Week) — Micah Lasher has defeated Alex Bores in the battle for retiring Rep. Jerry Nadler’s Manhattan congressional seat, according to media projections Tuesday night.

In the race for the 12th Congressional District, the most Jewish in the country, Lasher had 40,106 votes, or 39.1 percent, and Bores collected 35,822 votes, or 35 percent, with 87 percent of the ballots counted.

The crowded field in the Democratic primary also included John F. Kennedy grandson Jack Kennedy Shlossberg, public health expert Nina Schwalbe, and George Conway, a Republican-turned-Democrat and Trump antagonist. All three were trailing well behind Lasher.

During his victory speech, Lasher pointed to both his and the district’s Jewish identity.

“It is an enormous point of pride that I will be representing the most Jewish congressional district in the country,” Lasher said. “I will always stand up for our community with pride.”

He also received a loud ovation after he thanked “the rabbis and Jewish community leaders” who helped the campaign.

A number of Lasher’s political allies and former bosses spoke, including Nadler, who’s represented the upper West Side since 1992, Gov. Kathy Hochul, Comptroller Mark Levine, and Manhattan Borough President Brad Hoylman-Sigal, who told the JTA that Lasher would be a bridge between Mayor Zohran Mamdani and the Jewish community.

Holyman-Sigal called Lasher the “mensch of Manhattan.”

Lasher thanked Nadler for his decades of service and mentorship, saying he taught Lasher things like “vision, compassion, and how to canvass voters outside Zabar’s.”

Nadler is “as much an institution in Manhattan as Central Park and pastrami on rye,” Lasher said.

The House seat — which covers the Upper West and Upper East sides and midtown Manhattan, and is seen as a crown jewel in New York politics — opened up after Nadler announced last fall that he would retire at the end of this term.

Nadler’s preferred heir was Lasher, a Jewish State Assembly member who has worked for the progressive stalwart and other prominent politicians such as Gov. Kathy Hochul and former Mayor Mike Bloomberg. Lasher has the support of those former bosses, plus much of the West Side political establishment.

Fellow Assembly member Bores, meanwhile, has built a coalition that includes both pro-Israel moderates and progressive groups critical of the Jewish state by emphasizing that he will be tough on artificial intelligence companies. Former congresswoman Carolyn Maloney, who represented much of Manhattan’s East Side from 1993 until 2023, is among Bores’ supporters.

On the subject of Israel, the makeup of the NY-12 race has been unlike other contested New York City races: Elsewhere, at least one of the two leading candidates has accmused Israel of committing a genocide in Gaza and supports placing conditions on U.S. military aid to Israel.

But Lasher and Bores both describe themselves as pro-Israel and anti-Prime Minister Benjamin Netanyahu of Israel, and neither one supports blocking weapons sales to the Jewish state.

Mamdani is himself a voter in the district as a resident of Gracie Mansion and who cast his ballot a few days ago, during the early voting period, at the Metropolitan Museum of Art. He has declined to weigh in publicly on the race. The mayor endorsed two democratic socialist candidates and Brad Lander — his Jewish ally who accuses Israel of genocide, and has positioned himself against both offensive and defensive military aid to Israel — in other races.

Lasher and Bores have both consistently advocated for universally applying the existing Leahy Law, which bars the U.S. from providing military assistance to foreign military units that violate human rights with impunity.

Schlossberg has criticized Lasher and Bores for their stance, calling it an “insufficient answer,” and advocates for blocking offensive weapons sales to Israel while still funding the Iron Dome defensive missile system. He is the only of the top-four candidates to call for conditions on aid to Israel and halting any weapons sales. After initially leading in early polls, Schlossberg’s support appears to have fallen amid questions over his lack of experience.

Conway, an anti-Trumper and longtime attorney who was married to former Donald Trump staffer Kellyanne Conway, rounds out the top four in the polling.

Throughout the election, candidates convened for forums at numerous synagogues in the heavily Jewish district — 23.3% of constituents are Jewish, according to a 2024 study — and answered questions related to antisemitism, Israel and other Jewish-related issues.

Lasher has said at multiple forums that he doesn’t see anti-Zionism as being precisely the same thing as antisemitism, but that “often when you see one you see the other.”

He and Bores have both touted their support for a statewide “buffer zone” bill — which Lasher introduced in response to pro-Palestinian demonstrations outside synagogues — that would curb protests outside houses of worship. Meanwhile, Schlossberg has pointed out at Jewish forums that the first policy his campaign released was “Jack’s Fast-Track Plan,” which would fast-track a doubling of funds for the Nonprofit Security Grant Program that funds security at houses of worship and community centers.

During a June forum at Upper West Side synagogue B’nai Jeshurun, Lasher said he felt “exhausted” by how much the political dialogue — both in the NY-12 race and more broadly — is “obsessed” with Israel.

Lasher is sure to win in November’s general election in the heavily Democratic district where he will face only token Republican opposition.

The post ‘Mensch of Manhattan’ Lasher wins over Bores in fight for Nadler’s seat, media projects appeared first on The Forward.

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I helped sell Obama’s Iran deal. Its critics owe us all an explanation.

(JTA) — Neoconservatives have some ‘splainin’ to do, as Lucy’s television husband, Ricky Ricardo used to say.

The war on Iran has turned out to be a debacle of historic proportions.

After months of military escalation, tens of billions of dollars expended, critical weapons stockpiles depleted, and a region once again thrown into crisis, the United States now finds itself humiliated. The memorandum of understanding reportedly concluded last week does not represent the culmination of victory. It represents the codification of failure.

Many understood that nuclear disarmament and regime change in Iran could not be achieved through force. As I wrote in these pages a few months ago, more than a decade ago, we reached a solution designed to avert precisely the calamity that has unfolded. It was the Joint Comprehensive Plan of Action, or, in layman’s parlance, the Iran nuclear deal.

As a certified denizen of the Swamp — I served in the Clinton White House’s communications shop and later founded a Washington, DC strategic communications firm — I was at the forefront of selling the Obama administration’s agreement to the American public.

I remember those days well — and I do not miss them.

JCPOA defenders, particularly those of us in the Jewish community, were attacked in the ugliest terms imaginable. We were called appeasers, sellouts, self-hating Jews and worse. Prime Minister Benjamin Netanyahu traveled to Washington and outrageously warned Congress that the deal might pave the way to a second Holocaust.

JCPOA advocates never argued that the agreement signed in Vienna was perfect.

Its critics pointed to the sunset provisions. They objected that the deal did not address every malign activity undertaken by the Islamic Republic throughout the Middle East. These were legitimate concerns. Politics, however, is the art of the possible; geopolitics doubly so.

That agreement nevertheless achieved something extraordinary. Iran shipped out the overwhelming majority of its enriched uranium. International inspectors gained unprecedented access. A mechanism existed to monitor and constrain Tehran’s nuclear ambitions. The prospect of military confrontation receded.

The regime’s hardliners hated the agreement. The Revolutionary Guard fought it tooth and nail. Integration into the global economy threatened entrenched interests within the Islamic Republic. A growing middle class and increasing international engagement carried risks for those whose power depended on its isolation and perpetual confrontation.

Unfortunately, hardliners were not confined to Tehran.

The maximal-pressure advocates in Washington ultimately prevailed. During the first Trump administration, the United States withdrew from the agreement. Tore it up, as the president bragged. Despite the best efforts of our European partners, who had also signed the accord, the framework collapsed beneath the weight of renewed sanctions and diplomatic abandonment.

What followed, we were promised, was supposed to vindicate the critics.

Instead, it vindicated the critics’ critics.

The maximal-pressure advocates have spent years moving the goalposts. First, we were told, sanctions would bring the regime to its knees. They did not. Then economic isolation would force Tehran to abandon its nuclear ambitions. It did not. Then military pressure would succeed where sanctions had failed. It did not. Then leadership decapitation, covert action, and military escalation would produce regime change. They did not.

Each promised but failed breakthrough gave way to another promised breakthrough.

And now comes the final indignity: the so-called memorandum of understanding.

After years of threats, sanctions, covert action, military escalation and open warfare, the United States has agreed to resume negotiations with the very regime it set out to break. The Islamic Republic remains in power. Its leadership and political system remain intact.

Nor is that all.

The agreement reportedly provides waivers for Iranian oil exports and opens the door to sanctions relief and renewed access to many billions in frozen assets. It establishes yet another negotiating process on the nuclear question rather than resolving it. It leaves unresolved many of the issues that maximal-pressure advocates once described as non-negotiable, including Iran’s missile capabilities, its regional proxy network, or the many canisters of near-bomb-grade enriched uranium — what the president calls nuclear dust.

Even the future status of the Strait of Hormuz, the critical passage for oil open before the war, and now established as a lever for Iran to exert pressure, appears destined for further negotiation rather than decisive resolution.

The advocates of maximal pressure promised a better deal than the JCPOA. They promised that Iran would be forced to make concessions unavailable through diplomacy.

Instead, after years of confrontation, Washington finds itself lifting pressure, restoring economic benefits, negotiating with a surviving regime and postponing the most difficult questions to future talks.

Hell, in Paris last week, Trump actually made the case for Iran to retain, build or buy missiles and maintain at least some nuclear power.

So, what, precisely, was achieved?

The tragedy is not merely that the war failed to accomplish its objectives. It is that we already possessed a framework that constrained Iran’s nuclear program without requiring military confrontation. The Joint Comprehensive Plan of Action was imperfect, to be sure. Its supporters never claimed otherwise. But it reduced risk, established verification mechanisms and avoided precisely the cycle of escalation that has consumed the past decade.

Its opponents insisted there was a better way.

History has now rendered its verdict.

The United States ultimately abandoned a functioning diplomatic framework in pursuit of fantasies that proved unattainable. Having exhausted sanctions, threats and military force, it has arrived back at the negotiating table poorer, weaker and in possession of less leverage than before.

I’m afraid I told you so.

The defenders of the JCPOA were mocked as appeasers. Yet the memorandum of understanding now before us amounts to an admission of the very proposition we advanced all along: However distasteful it may be, the Islamic Republic is not a problem that can be bombed or sanctioned out of existence.

Diplomacy could have spared us the war.

This article originally appeared on JTA.org.

The post I helped sell Obama’s Iran deal. Its critics owe us all an explanation. appeared first on The Forward.

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Lander unseats Goldman on winning congressional election night for Mamdani

Former City Comptroller Brad Lander handily defeated incumbent Rep. Dan Goldman in the New York Democratic primary Tuesday night, while lesser-known Assemblymember Claire Valdez secured the nomination for another House seat — both after campaigning as sharp critics of Israel and with the endorsement of Mayor Zohran Mamdani.

Preliminary results showed Lander with about 66% of the vote to Goldman’s 34%. Valdez won with 56% of the vote for the open seat being vacated by Rep. Nydia Velazquez. Both are virtually assured of winning the general election in November in their heavily Democratic districts.

A third candidate whom Mamdani had endorsed, former Columbia Gaza war encampment organizer Darializa Avila Chevalier, held a slight lead over Rep. Adriano Espaillat on Tuesday night.

Representing a spectrum ranging from liberal Zionist critic (Lander) to longtime activist for the Palestinian cause (Avila Chevalier), the strong results for Mamdani’s chosen candidates is being closely watched nationally in a Democratic Party where many voters say they want the U.S. to distance itself from Israel. All three candidates say they will support cutting off U.S. military aid to Israel, including for the Iron Dome defense system.

At a campaign rally last week, Mamdani compared the American Israel Public Affairs Committee to “monsters” who “move millions in dark money to accomplish a single goal — to preserve their power, so that they can turn us against one another.” The remarks drew widespread condemnation from Jewish leaders, including some Mamdani supporters.

Lander is a high-profile Jewish politician allied with Mamdani, who this election cycle threw his weight behind a slate of progressive candidates who have critiqued hardline pro-Israel money and use the terms “genocide” and “apartheid” to describe Israel’s actions in Gaza and the West Bank.

Setting out to challenge the incumbent, Lander zeroed in on Goldman’s support for U.S. military aid to Israel and his past ties to the campaign fundraising group AIPAC during the campaign.

Lander told the New York Times that criticizing AIPAC makes him “queasy” given “the antisemitic tropes at play,” but that he feels an obligation to call out its funding nonetheless as he promises to curtail U.S. military aid to Israel.

In NY-7, another candidate backed by Mamdani defeated the incumbent’s handpicked successor. democratic socialist Valdez won against Brooklyn Borough President Antonio Reynoso, who had the endorsement of outgoing Rep. Velázquez.

But Mamdani’s brand of Israel politics didn’t succeed everywhere: In the Bronx, Rep. Ritchie Torres — one of the Democratic party’s most staunch supporters of Israel — handily defeated Michael Blake, a former state assemblyman who allied with Mamdani during the mayoral primary last year.

For state comptroller, incumbent Thomas DiNapoli — who made additional purchases of Israel bonds in the aftermath of Oct. 7 — won over Jewish challenger Drew Warshaw, who argued that the state should divest from Israel bonds because they help “finance Israeli Prime Minister Benjamin Netanyahu’s wars.”

State Assemblymember Micah Lasher won the race to succeed Rep. Jerry Nadler, who retired after 33 years in the House and served as one of Congress’ leading voices for liberal Jews. In that race, the leading candidates Lasher and Alex Bores had broad agreement in their support of Israel.

The other candidate in the race, Kennedy political scion Jack Schlossberg, had called for conditioning aid to Israel and attempted to draw contrast with Bores and Lasher on the issue. But Schlossberg’s campaign struggled to gain traction amid questions about his lack of political experience.

The post Lander unseats Goldman on winning congressional election night for Mamdani appeared first on The Forward.

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