Connect with us

Uncategorized

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.

Continue Reading

Uncategorized

Why I yelled at God on Kol Nidre

Last Kol Nidre, I yelled at God.

My husband was in the hospital. He had been since the day after Rosh Hashanah. I sat in services and thought of a friend of mine’s interpretation of the binding of Isaac: that it had been a test that Abraham had failed, because the whole point was that Abraham was supposed to argue back, and that’s why Abraham and God don’t speak after that moment. “You want me to argue back? Fine,” I snapped in my head to the God I otherwise think of as a metaphor. “Give him back to me.” I choked back tears as the congregation prayed to be inscribed in the Book of Life.

I had really been looking forward to those High Holidays. More specifically, I was looking forward to filling out the little prompts that Reboot sends out every year during the Days of Awe encouraging you to reflect on the year that was and the year that is to come. The year before last, I had written a lot about how badly I wanted a baby. Last year, I had one. My husband and I had welcomed our wonderful son into the world several weeks prior. And unlike most things in life, having a baby was as good as I thought it would be. Better, even. Some days I thought I would crack in half from so much happiness. Not all day, every day, of course. In week 10, in a little postpartum discussion group I’d brought him to, I cried at how much he cried. But the overwhelming mood was one of unbelievable happiness and gratitude. I was looking forward to taking stock of, and basking in, my joy over the course of those 10 days.

On Rosh Hashanah, we brought him to a service for babies and small children. I came home and drank tea with honey and cuddled him and watched the little video I had taken of him cooing as I encouraged him to “say” “Shanah Tovah” and he smiled.

In the next room, my husband was in pain. That night, he was sick. The next day, he went to the hospital. We thought he’d be home that afternoon. Instead, he was there for three weeks. The last of those was largely spent in the ICU, which is where we celebrated our five year wedding anniversary and our son turning three months old. The latent kidney issues we’d always known he had had were now acute. He would be on dialysis and would need a kidney transplant.

For the first couple of months, this seemed strangely manageable. He went to dialysis but he also still went to the office for work. We could still go up and back to New York City from our home in Washington, DC to see our families. We spent Thanksgiving and the holidays with them. We still talked about things like buying a bigger place and going on vacation to different countries and having a second baby.

Then, in the winter, his eyes became yellow. After several months and a genetic test we learned that he had a rare genetic mutation. It was responsible for his diabetes and his kidney issues and, we learned in the spring, for his liver issues, too. He would need not a kidney transplant from a live donor but a kidney and liver transplant from a deceased one.

It took several additional hospital stays to get that answer. Each time, he lost more weight and developed health complications even as the doctors aimed to solve the big ones. I wrote my little articles at various bedsides. I sometimes feel powerless in writing about antisemitism and illiberalism, but that was nothing next to the frustration I felt at my failure to move him through medical morass more quickly, or to magically make him well again.

I made compromises in my head. I would give up this or that. I would take on more of the childcare or housework or whatever else by myself because he couldn’t. I pushed my book deadline back. I pushed it back again. Fine. Take it. Just let me keep my family.

In all of this, our son did not remain a crying 10-week-old. He became, despite everything, a very happy baby, and his every little development—crawling and clapping and cruising—made me happy, too. I watched as he played with his toy cars and flipped through his board books, giggling to himself, and as he grabbed his stuffed Grover in his little hands with dimples on the knuckles. Once, while I was putting him down to sleep, he grinned then blew a raspberry at me. I blew one back. We went on like that, quietly in the dark, making funny noises with our lips and tongues. My husband was in one of his many hospital stays that night and I marveled at how this moment of perfect wonder could be happening amidst my despair.

Our son made everything easier to navigate: I had a purpose and also a daily package of the affirmation of life and mischief. The contrast also made everything hurt. Our baby was so good. Why couldn’t everything be?

I made myself ask for, and accept, help. One friend accompanied my husband to medical appointments when I couldn’t be there. Others babysat our son. Another took our dog to the animal hospital one morning so that I could take our baby to his music class. People baked challah and cooked dinners and sent money for groceries and I hated saying yes but was so grateful that there was so much to say yes to. It won’t always be like this, my husband told me. He said that one day one of our friends will need help and we will know how to be there for them. I tried to remember that it would not be us asking for help forever, and that, in any case, asking for and receiving help was also part of what it meant to have built and be part of a community. That this, too, was what it meant to have a life that is part of a larger whole.

Various people mentioned the Book of Job to me. In some ways, I felt strangely jealous of Job, who at least has the opportunity to argue with the power responsible for his misfortune. If God appeared before me to taunt me, I wouldn’t just sit there and take it, I said. Someone told me that was the whole point. No one was showing up to take the blame because part of what was frustrating was that there was no one, really, to blame. Lots of people told me how unfair this all was. Of course it was. But so what? It wasn’t fair and that was that. Lots of things aren’t fair. Our situation was still more fair than many. The country and the world felt like they were falling apart. I wasn’t special. Lots of people yell at God on Kol Nidre and every other day. Or ask or beg God. And the universe and genetics and their husbands’ doctors, too.

The other thing about the Book of Job, I realized, is that Job had been happy. Did that past happiness make it more painful for him to sit there and listen to God talk about how He, and not Job, had made the oceans? Who cares who made the oceans? Job loved his wife and his children and then they were gone. Some people told me that all of this would make me appreciate what I had. But I had appreciated my little family.

What I had failed to appreciate, despite worrying theoretically about health as much as I did during pregnancy, was how little I had had to think about health in a terrifying and tangible way. An Uber driver on one of my seemingly countless trips to the hospital (why hadn’t I learned to drive?) told me that you have 1000 problems until you get sick, and then you just have one. I wanted to call my other 999 problems back. I missed them. I wished I could go back to when I thought there were books besides the Book of Life.

When he was finally listed for his transplant, we were told it would be a matter of weeks, soon, any day now. Days came and days went and he did not get the call. He ended up in the hospital for a week at a time, twice, for relatively minor complications. The doctors told us how sorry they were that he was there. I thought, but did not say, that the more time he spent in the hospital for reasons that weren’t a transplant and recovery, the harder it was to believe that things would ever get better.

On one of those hospital evenings, we asked each other how much more of this we could take. We wondered aloud whether he would ever get his transplant. And then, hours later, he got the call. About a day later, he had his surgery. Eleven hours after the procedure started, the surgeon told me that it was over and that my husband was fine.

For the first week, I waited every day for some surprise piece of bad news to come. The first week turned into a second week, at the end of which he came home. The first few days were very hard — recovery is a long and arduous process — but I watched my husband work his way back into walking again with a cane at one end of the room while, at the other, our son, armed with only a toy lion in each hand and evolutionary instinct, started to take wobbly steps.

I know this is not the end of the story, and I may never stop expecting things to once again become perilous. We are still in the middle and I don’t know how it will end and nobody can tell me. But I also know now that it is no small thing that a story gets to continue.

I have such grief for the year I thought I was going to have and didn’t. I have such jealousy toward people who get to be parents of babies and not have to think about medical crises. And I feel such joy when I think of our son’s playfulness and curiosity and even his stubborn streak and how he gets it from his father.

I don’t really know what I will take with me from this year into the next, but I know that, as we near these High Holidays, I’ve been thinking of the other story of the season: not Abraham and Isaac, but Jonah. I understand the story differently now.

Often people told me that they didn’t know how I was keeping it together. They wouldn’t be able to, they said. But I knew that they would. They would for the same reason I was able to: I had no other choice. I had to for my husband and my son and, yes, for myself. For as long as you’re alive, you have to keep it together, keep pressing forward, keep pushing, pushing, pushing, heaving yourself out of the belly of the giant fish. “You may not like cold water,” my mother told me the night before my husband had his surgery, “But if your boat is sinking, you need to jump and swim.”

We swim. We try to hold onto light in the dark and we wait for joy to come in the morning. Some days, the joy is just that there is another morning. It hurts so much. But to hold onto yourself and each other and jump and swim is  also, I think, what it means to be in love, and to care and be cared for. It is, in other words, what it means to be inscribed in the Book of Life.

The post Why I yelled at God on Kol Nidre appeared first on The Forward.

Continue Reading

Uncategorized

Adidas apologizes for campaign with Israeli veteran amputee after calls to boycott

(JTA) — Adidas has apologized for featuring an Israeli former soldier and amputee in a campaign advertising its service for people with missing legs, which sparked calls for a boycott.

Shalev Biton, who lost his left leg during the 2021 Israel-Gaza conflict, appeared in a promotional video for the sportswear company’s Single Shoe service. The program was introduced in Europe earlier this year to allow amputees to buy just one shoe.

The campaign, filmed in Hebrew, showed Biton trying on a single sneaker at a store in Israel and running outside. It did not mention his army service or how he lost his leg. Biton was in a military vehicle that was hit by a missile while on a protective patrol of villages on the Israeli side of the Gaza border, according to Israel’s Channel 12.

After the video circulated widely online, pro-Palestinian activists called for a boycott of Adidas, referencing Gaza’s high number of amputees created by Israeli attacks since October 2023.

Adidas apologized for the campaign on Monday in a statement on the Adidas Arabia Instagram account.

“We recognize that an image used in a recent local activation has raised concerns and strong reactions,” the company said. “It was never our intent to cause offence, and we apologize for anyone affected. We acknowledge the concerns that have been raised and are taking the feedback seriously.”

The Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), part of the Boycott, Divestment and Sanctions movement, said the apology from Adidas was insufficient and demanded that the company “immediately remove the Israeli soldier from all Adidas promotional material and channels.”

“Those ‘affected’ are millions of Palestinians living under Israel’s ongoing genocide in Gaza, its illegal military occupation of Palestinian territory, and its decades long settler-colonial apartheid regime,” PACBI said in a statement.

Biton said on his Instagram account that he received “an insane wave of hate” over recent days. In an appeal for support, he told viewers, “I want to feel that you are here with me.”

Gaza has recorded over 5,000 limb amputations due to traumatic injuries, according to a May report from the World Health Organization. The United Nations reports that it has the highest number of child amputees per capita in the world.

Adidas weathered another controversy in 2024 for advertising sneakers based on a model first released during the 1972 Munich Olympics, when 11 Israeli athletes were killed by a Palestinian terrorist group. The company faced backlash from Israel and various Jewish groups for choosing Bella Hadid, a Palestinian-American model and vocal pro-Palestinian advocate, to front the campaign. Adidas subsequently dropped Hadid, prompting criticism from pro-Palestinian voices.

Adidas and Biton could not immediately be reached for further details.

This article originally appeared on JTA.org.

The post Adidas apologizes for campaign with Israeli veteran amputee after calls to boycott appeared first on The Forward.

Continue Reading

Uncategorized

Did Netanyahu ignore Oct. 7 warning? An independent inquiry could cost him re-election.

Israel’s election campaign effectively begins today, as political parties submit their list of candidates who will contest the Oct. 27 election. It is difficult to imagine a more politically explosive moment for the publication of a new investigation into the failures surrounding Oct. 7.

Today’s report in the Haaretz newspaper alleges that Benjamin Netanyahu received an extraordinary personal warning from UAE President Mohammed bin Zayed roughly a week and a half before the Hamas attack. According to the report, bin Zayed told Netanyahu during a 45-minute telephone conversation that Hamas chief Yahya Sinwar was preparing a major operation against Israel that could cause bloodshed and destabilize the region.

Netanyahu reportedly replied that he believed Hamas was focused on the West Bank and assured the Emirati leader that Israel was prepared. The Haaretz report cites multiple senior foreign sources reportedly briefed on the conversation and an adviser to bin Zayed who was present for the call.

Even more consequentially, the investigation says Netanyahu did not pass this specific warning to the heads of the Shin Bet, Mossad or Israel Defense Forces. Former Shin Bet chief Ronen Bar and former IDF chief Herzi Halevi, for their part, told Haaretz that they had not been informed of such a warning, while the UAE president did not respond to the news organization.

Haaretz traces the warning to an earlier chain of intelligence in which Sinwar himself had spoken ominously of an approaching “earthquake” – an enormous operation. That warning reached the Shin Bet on September 15 and produced high-level discussions in which Shin Bet chief Ronen Bar warned that Israel was moving toward confrontation.

Veteran journalist Shlomi Eldar, the co-author of the report, said bin Zayed concluded Israel had not heeded such signals – but Netanyahu “tried to convince bin Zayed that we are fine with Gaza.”

Netanyahu denies the central allegation completely. “There was no such warning,” his spokesman Topaz Luk said on Israel Radio. “I think this is another effort to distort the truth ahead of elections.”

The question of who is telling the truth leads directly to a democratic mechanism that has repeatedly been called upon at moments of national trauma throughout Israel’s history: a commission of inquiry.

That very mechanism was employed in response to the catastrophic failures surrounding the 1973 Yom Kippur War, when the Agranat Commission investigated the conduct of the military and government. State commissions of inquiry have likewise examined the 1982 Sabra and Shatila massacre and the killing of Arab citizens by police in October 2000.

Oct. 7 was the greatest security failure in Israel’s history, leaving more than 1,000 people dead, hundreds taken hostage, communities overrun and the country plunged into years of war.

Netanyahu has resisted all calls to establish an independent state commission – trying instead to set up an inquiry in which the opposition and coalition politicians would have equal say, guaranteeing any findings would be politicized. He has also attempted to deflect all blame onto the security establishment – making the issue a central one in the election campaign.

“You knew, you ignored it, you failed and you are guilty,” said opposition politician Yair Golan Tuesday, addressing his comments to Netanyahu. “We will set up a state inquiry that will expose the truth and those guilty will have to face justice .. for negligence that caused a massacre.”

Under the Commissions of Inquiry Law adopted in 1968, once the government establishes a state commission, its members are appointed by the president of the Supreme Court, and its chairman must be a serving or retired judge. The arrangement is intended to give the investigation independence from the political figures and institutions whose decisions it may ultimately have to judge.

And therein lies a rather extraordinary convergence. Netanyahu and his government have spent years attacking the legitimacy of precisely the institution entrusted by law with ensuring the independence of such an investigation: the Supreme Court. The campaign to weaken the judiciary that tore Israel apart before Oct. 7 has since provided a convenient argument against using the established mechanism for investigating Oct. 7 itself.

Netanyahu argues that a commission whose members are selected by the Supreme Court president cannot command broad public confidence. His opponents argue that a bespoke “political commission” may sound superficially balanced, but conclusions associated with coalition appointees would inevitably be dismissed by Netanyahu’s opponents as an attempt to protect him. Meanwhile findings associated with opposition appointees would be portrayed by his supporters as an attempt to destroy him. Israel would begin with two political camps choosing investigators and almost certainly end with two political camps accepting different versions of the truth.

The opposition has therefore refused to participate, arguing that the proposal would allow Netanyahu to influence the investigation of his own government. The stalemate has produced an outcome that is increasingly difficult to view as accidental: there is no agreed commission, no authoritative account of what happened and an ever-expanding vacuum in which every faction is free to construct its own version of Oct. 7.

Into that vacuum has flowed something far more disturbing than an ordinary argument over political responsibility. Netanyahu has worked relentlessly to shift responsibility toward the intelligence chiefs, the generals and especially the Shin Bet. Around him has grown an increasingly elaborate conspiracy theory that Oct. 7 may have involved something more sinister than incompetence and catastrophic misjudgment: an internal betrayal designed to damage Netanyahu politically.

What the Haaretz report provides is another powerful indication of how much remains unresolved, along with a potentially devastating explanation for Netanyahu’s determination to keep the established investigative mechanism from examining it. If the report is substantially correct — if Netanyahu personally received another serious warning before Oct. 7, misunderstood its significance, failed to circulate it to the security chiefs and then spent years attempting to redirect responsibility toward those same institutions — his resistance to a genuinely independent inquiry is clearly a political calculation..

“It’s like a knife in the stomach,” said Merav Svirsky, whose parents were killed in Kibbutz Be’eri, one of the communities hardest hit on Oct. 7, and whose brother was kidnapped and killed in Gaza. “My father and mother could have been alive. My brother would not have been kidnapped and would be alive. And while others resigned, Netanyahu clings to his seat.”

 

The post Did Netanyahu ignore Oct. 7 warning? An independent inquiry could cost him re-election. appeared first on The Forward.

Continue Reading

Copyright © 2017 - 2023 Jewish Post & News