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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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Four Seats or No Seats? Why Israel’s Final Polls Disagree Over Amcha Yisrael
Conflicting projections for Ofer Winter’s party illustrate the uncertainty of measuring public support near an electoral threshold.
A Channel 12 poll gives Ofer Winter’s Amcha Yisrael four parliamentary seats.
An i24NEWS survey reaches the same seat total.
Other final polls find that the party does not qualify for representation.
How can surveys conducted close to the same election produce such different results?
The answer lies partly in the difference between measuring a vote share and converting it into parliamentary seats.
A Statistical Boundary
Israel’s electoral threshold is 3.25 percent.
For a party receiving substantially more than that percentage, modest sampling fluctuations may change its expected number of seats without calling its parliamentary presence into question.
For a party whose support lies near 3.25 percent, the same type of fluctuation may change its projected representation from several seats to zero.
This does not necessarily mean the polls are measuring completely different political realities.
They may be producing estimates close to the same threshold but on opposite sides of it.
Sample Size Is Only One Factor
The i24NEWS survey conducted on October 22 included 5,124 adult respondents and reported a sampling error of plus or minus 1.4 percentage points at the 95 percent confidence level.
That is a substantial sample by conventional political polling standards.
But a larger sample does not eliminate every source of uncertainty.
Different pollsters may employ different recruitment methods, weighting systems and procedures for estimating turnout.
They may also differ in how they handle respondents who are undecided or reluctant to state their preferences.
These choices can matter particularly for smaller parties.
The Problem of Turnout
Opinion polls generally estimate voting preferences before actual voting takes place.
Election results reflect the ballots cast by people who participate.
Differences between intended and actual turnout can affect parties in different ways.
Analysts must therefore consider not only how many respondents express support for a party, but also whether the poll’s turnout model accurately reflects the eventual electorate.
Without transparent, comparable information about the methods used by each polling organization, it is difficult to identify which methodological difference is responsible for a particular disagreement.
Reading the Final Surveys
The appropriate interpretation of Amcha Yisrael’s polling is neither that its parliamentary representation is guaranteed nor that exclusion is certain.
The available surveys demonstrate uncertainty around a legally decisive boundary.
The four-seat projections reported by Channel 12 and i24NEWS are meaningful observations.
So are the below-threshold findings published by Channel 13, Maariv and Zman Yisrael.
Each survey is a measurement of electoral intentions under a particular methodology, not a count of actual votes.
For readers following Israel’s election, this makes Amcha Yisrael an instructive case study in how polling uncertainty interacts with electoral law.
The final result will provide the definitive seat allocation. The polls explain why the outcome was difficult to measure in advance.
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As Trump betrays Ukraine, it’s beginning to feel a lot like Munich
In Munich on Sept. 30, 1938, the leaders of Britain and France signed an agreement with Adolf Hitler that caved to the Nazi leader’s demand that Germany be given a chunk of Czechoslovakia. Five months later, Hitler ordered the German military to forcibly take the remainder of the neighboring country.
On Oct. 9, 2026, Donald Trump and Vladimir Putin struck a deal allowing Russia to sell diesel fuel to global markets, most importantly to the US. Then Trump waived a package of sanctions on Russia that had been passed by Congress. By replenishing Russia’s war coffers, it is likely more Ukrainians will die because of these twin gifts from America’s president to the warmongering Russian autocrat.
Why is Trump doing this? He seems to be hoping the diesel deal will help him avert disaster in the upcoming midterms. Or maybe there’s more to it than that. Perhaps Trump seriously thinks that this will get him the Nobel Peace Prize by ending the war in Ukraine through helping Putin win it. Perhaps it’s one more scheme to further enrich himself and his family. Or maybe Putin really does have something on Trump.
In any event, it feels like Munich all over again.
There are some remarkable parallels between Czechoslovakia’s predicament in 1938 and Ukraine’s nine decades later: separatists in two vulnerable Central European democracies were encouraged and supported by a neighboring authoritarian regime that sought to seize adjacent territory under the pretext of protecting a minority from oppression.
And at the center of both narratives is betrayal: of Czechoslovakia by Britain and France, and Ukraine by Trump.
In the spring and summer of 1938, Konrad Henlein, leader of the Nazi-allied Sudeten German Party in Czechoslovakia, held secret meetings with Hitler and other Nazi officials. They concocted a plan: Cause so much disorder in the Sudetenland that the Czech government would declare martial law, thus creating an excuse for German troops to march in to protect the ethnic German minority.
Tensions that had long existed along the Czech frontier erupted into gunfire and death in the Sudeten town of Habersbirk on the morning of Sept. 13, 1938. A mob of German separatists hung a swastika banner from a church tower, stormed the police station, kidnapped the wife of a cop, and engaged in gunfights with police officers that lasted hours. Four Czech police officers and four insurgents died. Outbreaks of violence, terror and torture raged along the border for days, backed by Freikorps paramilitary troops who crossed from Germany and by SA and SS men who took part in cross-border sabotage and armed attacks.
The uprising had the desired impact. Just 17 days later — on Sept. 30, 1938 — Britain, France, Italy and Nazi Germany signed the Munich Agreement, yielding to Hitler’s demand that the Sudetenland be ceded to him. After landing at an airport outside London, Prime Minister Neville Chamberlain waved a document in his hand and jubilantly proclaimed:
“The settlement of the Czechoslovak problem which has now been achieved is, in my view, only the prelude to a larger settlement in which all Europe may find peace.”
“I believe it is peace for our time,” Chamberlain said later that day.
But it didn’t take long for Hitler to show he could not be trusted. Hitler’s army marched into Czechoslovakia on March 15, 1939. Germany’s invasion of Poland followed less than six months later, and by 1942 German forces controlled territory spanning from the Atlantic Ocean to deep inside the Soviet Union.
Ethnic Germans’ uprising in Czechoslovakia in 1938 found an echo nine decades later in Ukraine’s Donbas region, where unrest that began with pro-Russia protests in 2014 evolved into the war Russia has been waging on its neighbor for nearly five years.
In the spring of 2014, paramilitary units led by Russian intelligence officers stormed government office buildings in several towns and cities in Donbas, seizing weapons and clashing with police. In a scene reminiscent of the Habersbirk siege of 1938, on April 14, 2014, pro-Russian militants seized the police station in Horlivka, beat up the police chief, and murdered a member of the city council, whose body was found in a river. Similar clashes occurred throughout Donbas.
Two Kremlin-backed pseudo-states soon emerged: the Donetsk People’s Republic and the Luhansk People’s Republic. Russia funneled tanks, artillery, air defense systems and fighters into Donbas, fueling a war between separatists and Ukrainian forces that dragged on for years.
Like Hitler in the Sudetenland, Russia’s de facto occupation of Donbas was not enough for Vladimir Putin. His eyes were on all of Ukraine, and he spent years manufacturing pretexts for the full-scale invasion that began on Feb. 24, 2022.
Trump has been buttering up Putin for more than a decade, starting with his 2015 campaign for president, when he effusively praised the ruthless Russian autocrat’s leadership style. Putin is a “strong leader,” is “far more respected than our president,” meaning the immensely popular Barack Obama, and was someone he “would get along with very well,” Trump said back then.
Trump’s admiration for Putin took on ominous tones after becoming president. During a press conference after the two leaders’ 2018 Helsinki summit, Trump questioned intelligence findings on Russian election interference and said he believed Putin’s denial. “I don’t see any reason it would be Russia,” Trump told reporters, with the Russian strongman standing at his side.
After Russia’s invasion of Ukraine in 2022, during Biden’s presidency, Trump called it “a pretty smart move,” praised Putin as a “genius,” and also said it wouldn’t have happened if Trump was still president, remarks that were amplified by Russian state media.
During Trump’s second term, his buddy-buddy relationship with Putin has turned into a virtual strategic alliance, as the American president repeatedly makes moves and statements that seem designed to please the Russian autocrat. There are Trump’s threats to abandon NATO, his humiliation of Ukraine President Volodymyr Zelensky during a February 2025 meeting inside the Oval Office, and most recently Trump’s demand that Ukraine cease its drone attacks on Russian oil refineries, his call for Zelensky’s ouster, and envoy Steve Witkoff thanking Putin for being a “humanitarian.”
Putin has proposed a summit between himself, Trump, and Chinese leader Xi Jinping to discuss ending the war in Ukraine. It’s notable that Ukraine has not been invited. This is also what happened in Munich nine decades ago, when Czech delegates were excluded from the room, and others decided Czechoslovakia’s fate.
Last October, aboard Air Force One, Trump told reporters the Donbas region should be “cut up,” leaving most of it in Russian hands.
“Let it be cut the way it is,” he said. “They can negotiate something later on down the line.”
It seems the fate Trump envisions for Ukraine is similar to the one Hitler envisioned for Czechoslovakia. It would be naïve to think that Putin’s expansionist ambitions would stop there.
The post As Trump betrays Ukraine, it’s beginning to feel a lot like Munich appeared first on The Forward.
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A Chabad Jew was stabbed in NYC. He returned the next day to continue wrapping tefillin.
(JTA) — Less than 24 hours after he was stabbed in midtown Manhattan, Yosef, a Chabad-Lubavitch man from Crown Heights, was back on the same street where he’d been assaulted, popping into Diamond District businesses as usual to help employees wrap tefillin.
Yosef, 26, who did not share his last name to maintain his privacy, told the Jewish Telegraphic Agency that he was back on 47th Street on Thursday afternoon, the day after the stabbing, without missing a beat in his Monday-through-Thursday rounds even as police investigate the incident as a possible hate crime.
A number of the people he visited pieced together that the widely circulated footage of a man being stabbed the previous night was of him.
“They were in shock. They were obviously scared for me,” said Yosef, who has been wrapping tefillin and distributing Shabbat candles to Jewish Diamond District employees for about three years. He started that routine when his father, a Chabad Jew who works in the jewelry business, realized he needed his son’s help to handle the demand for those acts. Yosef told Chabad.org that he was “still shaken” by the attack a day later.
Still, he told JTA, “We can’t allow some hate to stop us.”
Yosef said he felt it was important to communicate that message because “we need more mitzvahs in the world, we need more light in the world.”
Yosef was taken to Bellevue Hospital on Wednesday evening around 6 p.m., where medical staff assessed that he had no internal bleeding and would not need stitches. No arrests have been made, but the assailant has been described as a woman in her 40s.
The attack has renewed concerns about security that have faced Chabad adherents and institutions, which often host public events and maintain a visible street presence. But the threat didn’t diminish their presence in midtown Manhattan on Friday.
Multiple Chabad men stood under a bright yellow tent on the sidewalk wrapping tefillin for a steady stream of workers in the heavily Jewish Diamond District.
“The Rebbe says that the way to defeat darkness is only through the addition of light,” said Shmuel Cohen, who was handing out small photographs of the movement’s late leader, the Lubavitcher Rebbe Menachem Mendel Schneerson.
Cohen told JTA that he had not heard about the attack that took place just down the block two days earlier, though his partner under the sidewalk tent had. Cohen said that the best way to respond is through “the observance of Torah and mitzvot without being ashamed of our Judaism but presenting it to everyone.”
Also on Friday, Chabad officials met with New York Police Department representatives for their annual meeting about security ahead of Chabad’s international conference in Crown Heights, the Brooklyn neighborhood where the movement is headquartered. The conference begins on Nov. 5.
Chabad has been targeted in multiple high-profile attacks in the past year, including the deadly Bondi Beach shooting in Australia in December. The following month, a man rammed a car into the doors of the Chabad-Lubavitch headquarters in Brooklyn, raising further questions over how the movement should balance its commitment to making its events accessible with security.
Meanwhile, Jews have been targeted in more than half of hate crimes committed in New York City in 2026, despite making up about 12% of the city’s population.
“Security is our top priority. Our goal is to provide an environment where every participant feels safe and can fully experience the purpose and spirit of the gathering,” said Rabbi Mendy Kotlarsky, a top organizer of the upcoming conference.
In the wake of the attack, Yosef said he is not concerned about going out in public as a visibly Jewish person and doesn’t plan to change how he approaches the world.
“I was wearing the same clothes on Tuesday and Wednesday and Thursday,” he said. “I didn’t change my routine.”
This article originally appeared on JTA.org.
The post A Chabad Jew was stabbed in NYC. He returned the next day to continue wrapping tefillin. appeared first on The Forward.
