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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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Stabbing of Jewish man in Manhattan prompts calls for Mamdani to turn down temperature

The stabbing of two men on Manhattan’s Upper West Side on Thursday — one of whom was wearing a kippah on his way home from a Tisha B’Av service at a modern Orthodox shul — has intensified New Yorkers’ fears of being visibly Jewish in public, leaders and community members said.

“Fear has become a lived experience for far too many Jewish New Yorkers. That is not normal,” Mark Treyger, CEO of the Jewish Community Relations Council, said at a press conference Friday near the location of the stabbing. “Today, Jewish parents are asking whether it is safe for their children to wear a kippah or a Magen David in public. Synagogues preparing for Shabbat are wondering whether they can afford additional security.”

Police said on Thursday afternoon, the suspect — identified as 51-year-old Raul Morales — stabbed an Asian man in the back with a knife before approaching a Jewish man and stabbing him in the torso with a screwdriver. Authorities said he yelled “Allahu akbar” during the attack. Both victims are expected to recover.

Morales is expected to face charges on Friday. Police are investigating the attack as a hate crime, and New York City Police Commissioner Jessica Tisch said in a statement Thursday that while the attacker did not have a known history of mental health issues, “the initial investigation suggests that mental health may have been a factor.”

New York Mayor Zohran Mamdani condemned the attack as “horrifying” and wrote on X that “these hateful and despicable attacks have no place in our city.”

At Friday’s press conference, City Council Speaker Julie Menin said she was having conversations with her daughter about whether it was safe to wear a Jewish star and with her sons about whether they should wear yarmulkes.

“How can this be normal?” Menin said. “We have to change what is happening in our city.”

But even as New York Attorney General Letitia James urged people not to “assign any particular outcome to this investigation,” adding she did not want to “draw any conclusions,” some leaders were quick to link the attack to a rising political temperature.

Some directly expressed their anger with Mayor Zohran Mamdani, who on Wednesday issued a video address conceding he did not have the authority to arrest Israeli Prime Minister Benjamin Netanyahu, while also calling Netanyahu a war criminal and accusing him of orchestrating a genocide. Unable to arrest Netanyahu, Mamdani encouraged New Yorkers to protest instead.

The UJA-Federation of New York and Orthodox Union said at the time that the mayor’s words put Jews in greater danger.

Rabbi Angela Buchdahl, the spiritual leader of Manhattan’s Central Synagogue, wrote in an open letter addressed to Mamdani that “you promised during and after your campaign to lead this city with unity rather than fear. Instead, you continue to divide Jews into those whose politics you deem acceptable and Zionists whom you cast beyond the pale.”

Mamdani was not at the press conference, and organizers did not answer a question about whether he had been invited.

“His words have profound, real-world consequence on us,” Eric Goldstein, CEO of UJA-Federation of New York, told the crowd. “Shame on him for doing this for perceived political benefit when it has real-world consequence for the Jews of New York. He must stop. He must stop.”

Rabbi Yosie Levine of the Jewish Center — where the victim had attended a Tisha B’Av service before he was stabbed — also expressed disappointment at Mamdani’s remarks.

“When I was growing up, the only time we saw security outside of my synagogue or outside of my Jewish day school was when the mayor came to speak,” Levine said. “The police were there to protect him. Today, every time the mayor speaks, we need the police to protect us.”

“No elected official is responsible for every act of hate, but every leader is responsible for helping shape the climate in which we all live,” Treyger said.

New York City Comptroller Mark Levine at Friday’s press conference cast the attack as part of a broader trend of rising attacks on Jewish New Yorkers, citing 178 acts of antisemitic hate crimes in the first six months of this year.

Menin pointed to the dozens of swastikas painted on a playground at a Brooklyn playground earlier this year and swastikas spray painted on homes and a synagogue in Queens last month. On Wednesday, a Jewish man was shoved to the ground in Brooklyn, with the attacker making antisemitic remarks, leaving the victim with back and hip injuries.

Thursday’s attacks were just the latest in a series of crimes targeting the Jewish community, they said.

Rabbi Mark Wildes of the Manhattan Jewish Experience told the Forward he was teaching his weekly class when the attacks occurred nearby.

“It literally happened on my block,” he said. “Two of my kids were out and about, and this guy was still at large before they had caught him.” Wildes, whose children are visibly Jewish, said he and his wife immediately tried to get them home. “We were saying, ‘Where are they? Get them inside.’”

The post Stabbing of Jewish man in Manhattan prompts calls for Mamdani to turn down temperature appeared first on The Forward.

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Assailant stabs two men, one visibly Jewish, on Upper West Side

(JTA) — NEW YORK – An assailant stabbed two victims, at least one of whom was visibly Jewish, in an area of the Upper West Side known for its Jewish institutions.

Police said two male victims, aged 57 and 50, were in stable condition and being treated for stab wounds to the torso.

Rabbi Allen Schwartz of the neighborhood’s Congregation Ohab Tzedek told the Jewish Telegraphic Agency that one of the victims was a congregant who is visibly Jewish and wears a kippah.

Schwartz, who is in Israel, said he spoke to the congregant on the phone and that he is “alert.” “He may go home before Shabbos,” Schwartz said.

One person of interest has been taken into custody, according to the New York Police Department, who announced no immediate motive for the attack.

This article originally appeared on JTA.org.

The post Assailant stabs two men, one visibly Jewish, on Upper West Side appeared first on The Forward.

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What sort of Yiddish do Yiddishists speak today?

Ask the question: “What sort of Yiddish do Yiddishists speak?” and a jokester might respond: “Well, these days they speak English.”

But let’s consider the Yiddishists who really do speak it in order to preserve it as a living language, because they see it as a treasured part of the Ashkenazi cultural heritage.

Their purpose is different than the Hasidim who speak the language as a way of preserving their religious lifestyle and traditional Jewish values.

Linguist Emma Breslow recently defended her dissertation about the way that Yiddishists speak the language. She interviewed 30 Yiddish speakers at the annual week-long Yiddish immersion retreat Yiddish Vokh and also met with Yiddish speakers from New York, Boston and Montreal.

When she asked people whether they considered themselves Yiddishists, most said no. Perhaps the words Yiddishism and Yiddishist sound rather old-fashioned today. Since Breslow couldn’t find a label that speakers could agree on, she uses the phrase “minority-context Yiddish community” in her study. This category, she writes, also includes former Hasidim who occasionally participate in Yiddishist gatherings.

One surprise in her dissertation is the diversity in this community’s Yiddish. An outsider might assume that all Yiddishists speak the same but that isn’t so: some adhere to Standard Yiddish — the literary standard established by the YIVO Institute for Jewish Research and used in most Yiddish language courses today. Others use the Polish or Ukrainian Yiddish dialect or switch dialects. Sometimes they would say gut (good) and other times — git; sometimes zogn (to say) and other times — zugn.

When Breslow asked people their opinion of Standard Yiddish she mainly received negative answers, although some acknowledged that Standard Yiddish could be useful for learning the language, since the spelling closely matches the pronunciation.

Some interviewees made unexpected comments about Standard Yiddish, as in “Nobody speaks that,” even if, being at the Yiddish Vokh, they might have earlier chatted with Standard Yiddish speakers, and even heard children speak it as a native language. Her dissertation discusses this feeling they have that Standard Yiddish lacks authenticity — maybe precisely because so few people speak it from birth.

The minority-context Yiddish community consists of several groups: a) native speakers — those who speak Yiddish well from home; b) heritage speakers — those who heard it as children, but don’t speak it well; c) students and others who studied the language as adults, and d) former Hasidim, who now live in the larger secular world. Each group speaks differently, but there are interesting points of comparison.

Among her subjects, the former Hasidim speak so-called Hasidic Yiddish — a dialect that linguists have been researching intensely in recent years. Students mostly speak a sort of Standard Yiddish, which they learned from their teachers. All of the Yiddish speakers often exhibited a certain influence or interference from English; no surprise, considering that Hasidim — the largest group of Yiddish speakers today by far — mix English words into their Yiddish too.

Breslow’s quotations include interesting examples of code-switching — when speakers go back and forth between languages. Some of the younger speakers use the word like as a discourse marker in their Yiddish just as in their English.

A second topic of Breslow’s investigation is the articulation of the Yiddish letter reysh, which is similar to the R sound. In the older dialects there were two sorts of reysh: the throat (uvular) reysh, like in French or Modern Hebrew, and the tongue-tip (apical) reysh, as in Russian or Spanish. In addition to those two pronunciations, today’s Yiddishists also use the English-style (retroflex) reysh. Interestingly, linguist Uriel Weinreich, who authored the textbook, cautioned in the preface that students should not use the American reysh.

The grammar of the Yiddishists is also worth examining. Although many have taken courses teaching the grammar of Standard Yiddish, they don’t necessarily follow the rules. That shouldn’t come as a surprise, since even authentic Yiddish speakers of previous generations spoke in dialects that differed considerably from the way Yiddish was written in books and in the press. That’s why there’s no reason to criticize Hasidim for “ruining the grammar,” as many non-Hasidic Yiddish speakers do, since Yiddish speakers have been “ruining” the proper grammar for centuries.

The post What sort of Yiddish do Yiddishists speak today? appeared first on The Forward.

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