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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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Thousands Protest Over Israeli President Herzog’s Visit to Australia in Wake of Bondi Massacre
Demonstrators gather at Town Hall Square to protest against Israeli President Isaac Herzog’s state visit to Australia following a deadly mass shooting during a Jewish Hanukkah celebration at Bondi Beach on Dec. 14, 2025, in Sydney, Australia, Feb. 9, 2026. Photo: REUTERS/Jeremy Piper
Thousands gathered across Australia on Monday to protest over the arrival of Israeli President Isaac Herzog, who is on a multi-city trip aimed at expressing solidarity with Australia‘s Jewish community following a deadly mass shooting last year.
Herzog is visiting Australia this week following an invitation from Australian Prime Minister Anthony Albanese in the aftermath of the Dec. 14 shooting at a Hanukkah event at Sydney’s Bondi Beach that killed 15.
The visit has attracted the ire of some people in Australia, who accuse Herzog of being complicit in civilian deaths in Gaza. Anti-Israel groups have organized protests in cities and towns across the country on Monday evening.
In Sydney, thousands gathered in a square in the city’s central business district, listening to speeches and shouting pro-Palestinian slogans.
“The Bondi massacre was terrible but from our Australian leadership there’s been no acknowledgment of the Palestinian people and the Gazans,” said Jackson Elliott, a 30-year-old protestor from Sydney.
“Herzog has dodged all the questions about the occupation and says this visit is about Australia and Israeli relations but he is complicit.”
There was a heavy police presence with a helicopter circling overhead and officers patrolling on horseback.
Police used pepper spray and tear gas to push back groups of people who were trying to breach the line and march ahead. Several protesters were arrested as they clashed with police.
Authorities in Sydney declared Herzog’s visit a major event and were authorized to use rarely invoked powers during the visit, including the ability to separate and move crowds, restrict their entry to certain areas, direct people to leave, and search vehicles.
On Monday in a Sydney court, the Palestine Action Group – which organized the protest – failed to legally challenge the restrictions on the demonstration.
PRESIDENT COMMEMORATES LIVES LOST
Meanwhile, thousands of Jewish community members, government officials, and opposition party politicians welcomed Herzog at an event, more than a kilometer away from the protests, honoring the victims of the Bondi attack.
“We all remember the boycotts, the threats, the colleagues who turned their backs on their Jewish friends … that was the prelude to Bondi,” he told a large crowd at Sydney’s International Convention Centre, according to an ABC News report.
Herzog began his visit earlier on Monday at Bondi Beach, where he laid a wreath at a memorial for the victims of the attack. He also met survivors and the families of 15 people killed in the shooting.
“This was also an attack on all Australians. They attacked the values that our democracies treasure, the sanctity of human life, the freedom of religion, tolerance, dignity, and respect,” Herzog said in remarks at the site.
In a statement, the Executive Council of Australian Jewry Co-Chief Executive Alex Ryvchin said Herzog’s visit “will lift the spirits of a pained community.”
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Saudi Arabia Wealth Fund Set to Announce Strategy Revamp, Sources Say
A billboard at the site of New Murabba shows The Mukaab, in Riyadh, Saudi Arabia, Jan. 26, 2026. Photo: REUTERS/Mohammed Benmansour
Saudi Arabia‘s $925 billion Public Investment Fund (PIF) plans to announce a new five-year strategy this week, two people with direct knowledge of the matter said, in the biggest reset yet of Crown Prince Mohammed bin Salman’s economic transformation plan.
The Saudi sovereign wealth fund soft-launched its new 2026-2030 strategy with key investors and strategic partners on Monday on the sidelines of a conference in Riyadh, the two people and another familiar with the matter told Reuters.
The new blueprint will emphasize sectors including industry, minerals, artificial intelligence, and tourism, while scaling back and in some cases reconfiguring expensive mega projects such as The Line, a futuristic mirrored city, the sources said.
All three sources declined to be named because they were not authorized to speak publicly about the matter.
One said the new roadmap will place greater emphasis on attracting capital from major global asset managers, reflecting mounting fiscal pressures as oil prices remain well below levels needed to fund the kingdom’s ambitious transformation agenda.
The shift marks the most significant recalibration to date of bin Salman’s Vision 2030, which for nearly a decade has prominently featured mega futuristic developments. The kingdom is currently reviewing several of the mega projects.
Many of these, including The Line, which extends 170 km (106 miles) into the desert, and the planned Trojena winter sports hub, have faced delays and ballooning costs. The latest to be suspended was a cube-shaped skyscraper in Riyadh.
Last month, Saudi Economy Minister Faisal al-Ibrahim told Reuters: “We’re very transparent. We’re not going to shy away from saying we had to shift this project, delay it, re-scope it,” without mentioning specific projects.
Under the new strategy, NEOM will shift away from its earlier emphasis on tourism and futuristic urban design toward renewable energy and industrial development, including green hydrogen, solar and wind projects, and data centers that benefit from their proximity to the sea for cooling, the people said.
The Line was not on display in the venue at Monday’s opening day of the private sector forum, while NEOM’s video displays underscored the new direction, focusing on energy and industrial initiatives rather than the high‑profile real estate and tourism concepts once billed as being at its core.
PIF’s updated focus echoes details previously reported by Reuters, including a broader shift toward logistics, mining, and advanced manufacturing, as well as clean energy and religious tourism.
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US Issues Fresh Guidance to Vessels Transiting Strait of Hormuz as Iran Tensions Simmer
A map showing the Strait of Hormuz and Iran is seen behind a 3D printed miniature of US President Donald Trump in this illustration taken June 22, 2025. Photo: REUTERS/Dado Ruvic/Illustration
The United States issued fresh guidance on Monday to commercial vessels transiting the Strait of Hormuz, a key shipping lane for Middle East oil supplies, as tensions simmered between Washington and Tehran over Iran’s nuclear program and brutal crackdown on anti-government protesters.
Iran has in the past threatened to close down the Strait of Hormuz, a portion of which lies within its territorial waters, and has at times seized commercial ships and oil tankers moving through the area alleging smuggling.
The US Department of Transportation’s Maritime Administration advised US-flagged commercial vessels to stay as far from Iran’s territorial waters as possible and to verbally decline Iranian forces permission to board if asked, according to the guidance.
“It is recommended that US-flagged commercial vessels transiting these waters remain as far as possible from Iran’s territorial sea without compromising navigational safety,” according to the guidance posted on its web site.
It also said crews should not forcibly resist Iranian forces if they board.
“If Iranian forces board a US-flagged commercial vessel, the crew should not forcibly resist the boarding party,” it said.
Iran‘s top diplomat said on Friday that nuclear talks with the US mediated by Oman were off to a good start and set to continue, in remarks that could help allay concern that failure to reach a deal might nudge the Middle East closer to war.
While both sides have indicated readiness to revive diplomacy over Tehran’s long-running nuclear dispute with the West, Washington has said it also wants the talks to cover Iran‘s ballistic missiles, support for armed groups around the region, and human rights.
President Donald Trump ratcheted up the pressure on Iran on Friday with an executive order imposing a 25% tariff on imports from any country that “directly or indirectly” purchases goods from Iran, following through on a threat he made last month.