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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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Trump Confirms Conversation with Venezuela’s Maduro
Venezuela’s President Nicolas Maduro holds Simon Bolivar’s sword as he addresses members of the armed forces, Bolivarian Militia, police, and civilians during a rally against a possible escalation of US actions toward the country, at Fort Tiuna military base in Caracas, Venezuela, November 25, 2025. Photo: REUTERS/Leonardo Fernandez Viloria
US President Donald Trump confirmed on Sunday that he had spoken with Venezuelan President Nicolas Maduro, but did not provide details on what the two leaders discussed.
“I don’t want to comment on it. The answer is yes,” Trump said when asked if he had spoken with Maduro. He was speaking to reporters aboard Air Force One.
The New York Times first reported Trump had spoken with Maduro earlier this month and discussed a possible meeting between them in the United States.
“I wouldn’t say it went well or badly, it was a phone call,” Trump said regarding the conversation.
The revelation of the phone call comes as Trump continues to use bellicose rhetoric regarding Venezuela, while also entertaining the possibility of diplomacy.
On Saturday, Trump said the airspace above and surrounding Venezuela should be considered “closed in its entirety,” but gave no further details, stirring anxiety and confusion in Caracas as his administration ramps up pressure on Maduro’s government.
When asked whether his airspace comments meant strikes against Venezuela were imminent, Trump said: “Don’t read anything into it.”
The Trump administration has been weighing Venezuela-related options to combat what it has portrayed as Maduro’s role in supplying illegal drugs that have killed Americans. The socialist Venezuelan president has denied having any links to the illegal drug trade.
Reuters has reported the options under US consideration include an attempt to overthrow Maduro, and that the US military is poised for a new phase of operations after a massive military buildup in the Caribbean and nearly three months of strikes on suspected drug boats off Venezuela’s coast.
Human rights groups have condemned the strikes as illegal extrajudicial killings of civilians, and some US allies have expressed growing concerns that Washington may be violating international law.
Trump said he would look into whether the US military had carried out a second strike in the Caribbean that killed survivors during a September operation, adding he would not have wanted such a strike.
U.S. Defense Secretary Pete Hegseth has said the strikes are lawful but are intended to be “lethal.”
Trump told military service members last week the US would “very soon” begin land operations to stop suspected Venezuelan drug traffickers.
Maduro and senior members of his administration have not commented on the call. Asked about it on Sunday, Jorge Rodriguez, the head of Venezuela’s National Assembly, said the call was not the topic of his press conference, where he announced a lawmaker investigation into US boat strikes in the Caribbean.
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US Sees Progress After Talks in Florida with Ukraine, but More Work Needed to Reach Deal
US Secretary of State Marco Rubio, US Special Envoy Steve Witkoff, and US President Donald Trump’s son-in-law Jared Kushner meet with a Ukrainian delegation in Hallandale Beach, Florida, US, November 30, 2025. Photo: REUTERS/Eva Marie Uzcategui
US and Ukrainian officials held what both sides called productive talks on Sunday about a Russia peace deal, with Secretary of State Marco Rubio expressing optimism about progress despite challenges to ending the more than 3-year-long war.
Rubio met with a Ukrainian delegation led by a new chief negotiator in Florida, his home state, for talks that he said were meant to create a pathway for Ukraine to remain sovereign and independent.
“We continue to be realistic about how difficult this is, but optimistic, particularly given the fact that as we’ve made progress, I think there is a shared vision here that this is not just about ending the war,” Rubio told reporters after the talks concluded. “It is about securing Ukraine’s future, a future that we hope will be more prosperous than it’s ever been.”
The discussions were a follow-up to a new set of negotiations that began with a fresh US blueprint for peace. Critics said the plan initially favored Russia, which started the conflict with a 2022 invasion of Ukraine.
Special envoy Steve Witkoff and US President Donald Trump’s son-in-law, Jared Kushner, were also present representing the US side. Witkoff leaves on Monday for Moscow, where he is expected to meet Russian counterparts for talks this week.
“There’s more work to be done. This is delicate,” Rubio said. “There are a lot of moving parts, and obviously there’s another party involved here … that will have to be a part of the equation, and that will continue later this week, when Mr. Witkoff travels to Moscow.”
Trump has expressed frustration at not being able to end the war. He pledged as a presidential candidate to do so in one day and has said he was surprised it has been so hard, given what he calls a strong relationship with Russian President Vladimir Putin, who has largely resisted concessions to stop the fighting.
Trump’s team has pressured Ukraine to make significant concessions itself, including giving up territory to Russia.
The talks shifted on Sunday with a change in leadership from the Ukrainian side. A new chief negotiator, national security council secretary Rustem Umerov, led the discussions for Kyiv after the resignation on Friday of previous team leader Andriy Yermak, chief of staff to Ukrainian President Volodymyr Zelenskiy, amid a corruption scandal at home.
“Ukraine’s got some difficult little problems,” Trump told reporters on Air Force One on Sunday, referring to the corruption scandal, which he said was “not helpful.” He repeated his view that both Russia and Ukraine wanted to end the war and said there was a good chance a deal could be reached.
Umerov thanked the United States and its officials for their support. “US is hearing us, US is supporting us, US is walking besides us,” he said in English as the negotiations began.
After the meeting, he declared it productive. “We discussed all the important matters that are important for Ukraine, for Ukrainian people and US was super supportive,” Umerov said.
The Sunday talks took place near Miami at a private club, Shell Bay, developed by Witkoff’s real estate business.
Zelensky had said he expected the results from previous meetings in Geneva would be “hammered out” on Sunday. In Geneva, Ukraine presented a counter-offer to proposals laid out by US Secretary of the Army Dan Driscoll to leaders in Kyiv some two weeks ago.
Ukraine’s leadership, facing a domestic political crisis fueled by a probe into major graft in the energy sector, is seeking to push back on Moscow-friendly terms as Russian forces grind forward along the front lines of the war.
Last week, Zelensky warned Ukrainians, who are weathering widespread blackouts from Russian air strikes on the energy system, that his country was at its most difficult moment yet but pledged not to make a bad deal.
“As a weatherman would say, there’s the inherent difficulty in forecasting because the atmosphere is a chaotic system where small changes can lead to large outcomes,” Kyiv’s first deputy foreign minister Sergiy Kyslytsya, also part of the delegation, wrote on X from Miami on Sunday.
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Netanyahu’s Pardon Request: What Happens Next?
Israeli President Isaac Herzog speaks during a press conference with Latvian President Edgars Rinkevics in Riga, Latvia, Aug. 5, 2025. Photo: REUTERS/Ints Kalnins
i24 News – Prime Minister Benjamin Netanyahu on Sunday submitted a formal request for a presidential pardon to President Isaac Herzog, i24NEWS Hebrew legal commentator Avishai Grintzig revealed.
What happens next? The request now enters a detailed, multi-stage review process involving the Ministry of Justice, law-enforcement bodies, and the President’s Residence.
Once a request is filed, it is first transferred to the Pardons Department in the Ministry of Justice.
The department begins gathering extensive information, seeking input from the Prison Service, Israel Police, the State Attorney’s Office, welfare and medical authorities, and the Enforcement and Collection Authority.
After assembling the material, the Pardons Department submits its opinion to the Minister of Justice. The minister then issues his own recommendation. If a conflict of interest arises, the government must appoint another minister to handle the matter.
The minister’s recommendation is then sent to the legal department at the President’s Residence, where the file is reviewed, supplemented as needed, and passed on to the President’s Legal Advisor.
The Legal Advisor prepares an independent opinion and may conduct additional inquiries with the Pardons Department or other relevant bodies. Once complete, the full file — including all opinions and documentation — is presented to the President for a final decision.
If the President approves the pardon, he signs a clemency document, which is then countersigned by the Minister of Justice (or a substitute minister). The applicant is notified in writing and receives the signed document.
If the President rejects the request, the applicant receives a written notice explaining the decision.