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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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Israelis are experiencing a new kind of international boycott

Israelis are not facing formal sanctions from Western corporations. No international business coalition has announced a boycott. No major bank or airline has openly declared that Israeli customers are unwelcome.

Yet many Israelis are increasingly encountering something quieter and more difficult to define: a new norm of friction and the sense that when systems fail for Israelis, nobody feels much urgency to fix them.

Consider a recent experience I had with the United Kingdom’s NatWest bank.

When NatWest stopped sending authentication texts to Israeli phone numbers in the spring, I assumed it was just a technical error. Banks malfunction. Security systems fail. But then the bank’s mobile app stopped properly recognizing my Israeli number — despite that number having functioned perfectly well beforehand. Customer service representatives offered contradictory explanations. The fallback solution was supposed to be a physical card reader for secure logins. I requested one repeatedly. Nothing arrived for months. Then, in early May, a representative informed me that NatWest apparently was not mailing card readers to Israel, either.

On a visit to London, I went to a branch, where they offered no explanations; they put me on the phone with customer service, where the agent repeated that they were no longer engaging in contact with Israeli phone numbers or addresses, due to “war tensions.” So I emailed every executive I could find to ask, directly, if the bank was boycotting Israel.

After lengthy exchanges, I was told that Israeli access was removed earlier in the year. The bank insisted the restrictions were not political and not specific to Israel, but rather part of broader fraud prevention measures. So I asked which other countries were affected. This, the bank refused to answer.

On its own, this could still be dismissed as another case of corporate opacity mixed with bureaucratic risk aversion. (Eventually, a physical card reader did make its way to me, still with no clear explanation for the delay.) But it was not the first strange interaction I had experienced.

In early 2024, I ordered a novel from Amazon. The book arrived at my home in Tel Aviv damaged and obviously used, despite being sold as new. Customer service initially handled the issue professionally, immediately agreeing to replace the order. Then I provided my address. There was silence.

“I see this address is not on the map,” the representative finally said. “I only see Palestine.” Then the line disconnected.

An alarming interaction, but the representative was expressing a personal political view, not enforcing corporate policy. What proved more revealing was Amazon’s institutional indifference afterward. Despite repeated inquiries to the company’s press office, I never received a clear decrial of the customer service representative’s actions. The issue simply disappeared into a bureaucratic void.

That sorry episode was felicitous in a way: It inspired my first op-ed for the Forward.

Then came British Airways.

After BA canceled flights between Tel Aviv and London in 2025 following a Houthi missile strike near Ben-Gurion Airport, my wife and I scrambled to reconstruct an itinerary at enormous personal expense. Wars disrupt aviation. That part was understandable.

What followed afterward was not. Months passed in a maze of contradictory responses, partial refunds, bureaucratic evasions and compensation offers so absurd that they bordered on parody. Only after I contacted the airline’s press office identifying myself as a journalist did the company suddenly rediscover the ability to communicate. Even then, the process remained exhausting and opaque. We were compensated perhaps a third the value of the ticket lost, with no apology whatsoever.

None of these incidents independently prove anti-Israel discrimination. Banks mistreat customers. Airlines fail passengers. Customer service departments malfunction. Yet together they illustrate a kind of new atmosphere for Israelis.

The most profound sign of that atmosphere has come in academia. As a new report by the Technion documents, what was once an academic boycott of Israel evolved from highly visible protests toward a more diffuse climate of exclusion.

Jewish students in Sweden reported hiding their identities in academic environments. British surveys found that roughly one in five students said they would not want to live with a Jewish roommate. Canadian campus activism increasingly moved from symbolic rhetoric toward operational demands for universities to sever ties with Israeli institutions and withdraw investments.

My friend Bar Harel experienced this personally at Portugal’s University of Coimbra. After complaining about antisemitic graffiti, pro-Hamas and Hezbollah imagery, and slogans such as “No Jews wanted” around campus, Harel became a target. He was threatened online, publicly vilified, physically assaulted near campus and told his family “should burn in a second Holocaust.”

University authorities largely deflected responsibility. Only after he fled Portugal at the advice of Israeli and American diplomats did the state ombudsman finally issue a report that said the university had adopted a “posture of fundamental passivity” in response to his harassment, failing to investigate despite clear evidence.

In business and academia alike, organizations don’t need to announce formal sanctions to change Israeli experience. They simply begin treating Israel operationally troublesome.

Does all this come from antisemitism — or is it a form of quiet protest against Israel’s brutality during the past years’ wars, or the indefensible situation in the West Bank? Does it relate to the current right-wing government — and if so, is it fixable should the moderate opposition return to power?

I do not have definitive answers, and there’s probably a mix of reasons. But it is clear that Israelis are losing the global narrative with astounding speed, and unless this is countered, more formal boycotts are on the way.

The post Israelis are experiencing a new kind of international boycott appeared first on The Forward.

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Graham Platner drops out of Maine Senate race, citing push to ‘end the genocide’ in parting message

(JTA) — Maine Democrat Graham Platner announced Wednesday evening that he will drop out of the U.S. Senate race following new allegations that he had committed sexual assault.

“We believe that for the movement to continue, it can’t be me, and for that reason, we are suspending campaign operations,” he said.

Platner’s withdrawal came two days after Politico reported that a former girlfriend had accused him of entering her home uninvited about five years ago and forcing her to have sex with him.

“All we were asking for was healthcare, was to end the genocide, to use our taxpayer dollars at home to uplift our communities instead of waging war overseas,” Platner said in a Facebook address announcing his exit. He denied the allegations against him in the address, adding that a “corporate media system and the political establishment got to act as judge, jury and executioner.”

The allegations were the latest in a series of controversies that have hit Platner’s campaign, including his since-covered-up Nazi tattoo, unearthed Reddit posts and other reports about his behavior toward women.

Platner, who won his Democratic primary in June on an anti-Israel progressive platform, denied the fresh allegations, telling Politico that “any accusation of non-consensual behavior is categorically untrue.”

But the report prompted a rapid collapse in support for Platner among Democratic leaders, progressive allies and organizations that had backed his bid to beat GOP Sen. Susan Collins. It also sparked a scramble among Maine Democrats to find a different nominee ahead of the July 27 deadline for a replacement to appear on the ballot.

On Wednesday, the Maine Democratic Party announced that they had voted to hold a nominating convention to fill Platner’s vacancy.

“There is an unprecedented amount of energy and enthusiasm among Maine Democrats, driven in part by many of the dedicated volunteers and supporters who were inspired by Graham Platner’s campaign,” the party said in a statement. “We look forward to coming together and harnessing that energy around our new nominee as we work to defeat Susan Collins in November.”

The state Democratic Party leadership called on Platner to withdraw as the Democratic nominee on Monday, adding that the party needed to “refocus this campaign” on the fight against GOP Sen. Susan Collins. The seat is key to Democratic hopes of taking back the Senate.

Vermont Sen. Bernie Sanders, one of Platner’s most high-profile supporters, as well as New York City Mayor Zohran Mamdani also called for Platner to step aside on Tuesday.

Senate Minority Leader Chuck Schumer, who initially backed Platner’s opponent before she dropped out, had said in a joint statement with New York Sen. Kirsten Gillibrand that the Democratic Senatorial Campaign Committee “will not invest in the Maine Senate race if Platner remains on the ballot.”

The post Graham Platner drops out of Maine Senate race, citing push to ‘end the genocide’ in parting message appeared first on The Forward.

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Rahm Emanuel: Democrats who support Israel can still lead the party to the White House

(JTA) — TEL AVIV — Pausing as he looked out at the packed hall at Tel Aviv University, Rahm Emanuel offered his audience a warning about what he was about to say.

“Hold your applause, because you may not like this,” he said, before laying out his proposal for U.S. sanctions targeting Israelis who attack Palestinian civilians and property, Israeli officials who voice support for that violence, and companies and banks that support “illegal settlements.”

The crowd applauded anyway — three separate times.

Under a 2017 law, Israel bars foreign nationals who publicly call for boycotts of Israel or its settlements from entering the country. Emanuel issued his call for sanctions from a stage in Tel Aviv, a measure of how far Democratic politics on Israel have shifted since Hamas’ Oct. 7, 2023, attacks.

Widely viewed as a possible contender for the 2028 Democratic presidential nomination, Emanuel, a former congressman, White House chief of staff, Chicago mayor and U.S. ambassador to Japan, and one of the most prominent Jewish figures in American politics, arrived in Israel on Sunday. His speech Wednesday afternoon, billed as “An Honest Conversation: The U.S.-Israel Relationship, Where It Stands Today and The Road Ahead,” was the keynote of the visit, and was meant to signal the need for a “fundamentally new and different approach”  to the U.S.-Israel alliance, as he put it.

Whether Emanuel’s critique will land with the Israeli establishment, or with the ruling coalition, remains to be seen. Emanuel made a point of avoiding Israel’s elected officials during his visit, including Prime Minister Benjamin Netanyahu, saying he did not want to interfere with elections set for the fall. He did meet with President Isaac Herzog, who is appointed by the government, as well as visit hospitals in Tel Aviv and Nablus that partner with each other.

But it was clear that it was resonating with attendees. Moti Porath told the Jewish Telegraphic Agency that he believed Emanuel correctly diagnosed the ailment at the heart of the Israeli government, a leader who has become an outcast abroad but remains too skilled a politician to easily dislodge.

Porath, who splits his time between Newton, Massachusetts, and Tel Aviv, and who attended the Massachusetts Institute of Technology at the same time as Netanyahu, said he recognizes the prime minister as a singularly talented political operator. “He’s a fantastic politician,” Porath said. “Maybe he’s a manipulator.”

To the attendees who spoke with JTA, Emanuel’s message was not anti-Israel but pro-Israel, in Porath’s telling, what a good friend is obligated to do when the other is acting out of line. Emanuel put it similarly from the stage, “True friends tell each other the truth.”

Porath said he hopes the United States and Israel can once again find “a common political vision,” but that doing so will require tough love from America’s next president.

The event was hosted by Tel Aviv University’s Center for the Study of the United States and moderated by its founding director, Yoav Fromer, alongside Yael Sternhell, the professor who heads the university’s American studies program. Organizers solicited questions from students in advance and said more than 100 were submitted.

But with a university audience likely to skew liberal, attendee Yoam Barash said the program would have benefited from a right-wing voice to push back on Emanuel’s comments, since most Israeli voters lean right. A February poll by the Midgam Institute for Israel’s Channel 12 news found 68% of veteran voters and 75% of those voting for the first time identify as right-wing. “Why didn’t they bring somebody from the right?” Barash asked.

Barash is the uncle of Daniel Barash, a managing director at the public affairs firm SKDK who helped organize the event  He attended with Hannah Winkler, a friend from his army days and now a doctor in the Tel Aviv area. She said she pins her hope not on the U.S.-Israel alliance but on a left-wing victory in the upcoming elections. “Without that, I have no hope,” she said.

Told that some attendees had wanted a more politically diverse lineup, Fromer defended the format. “This is academia,” he said. “The goals here are very different than they would be on a political panel.”

At the same time, Fromer echoed the attendees’ view that Emanuel’s message was that of a friend rather than an adversary. “To say to someone, look, I’m trying to save you, if you don’t change your behavior, you’re going to self-destruct — that’s someone who cares,” he said.

The stakes, in his telling, are high for Israel and for the university. “Israelis have become pariahs. We used to be admired, the most admired,” he said, echoing Emanuel’s own warning from the stage that Israel’s leadership has turned it into a “territorial pariah.”

The damage is not merely reputational, he argued. “It’s not just feeling bad. It has practical implications,” he said, speculating about investment and capital that will stop flowing, students and tourists who will stop coming, Israelis who will lose their jobs.

During the anti-Israel protests that swept U.S. campuses in 2023 and 2024, ties with Israeli universities, including Tel Aviv University, were frequent targets of divestment demands. Emanuel himself warned in his speech that Israel’s scientists face exclusion from international research networks and that its artists and academics are being shut out of exhibits and conferences.

Inside the hall, at least, the message was received. “Most of the people in this room are quite sympathetic to what you have to say,” Barash told Emanuel on stage. “That is not the case across Israel.”

The post Rahm Emanuel: Democrats who support Israel can still lead the party to the White House appeared first on The Forward.

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