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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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Berlin rabbi makes history as first European to head Conservative rabbis’ association

(JTA) — BERLIN — Gesa Shira Ederberg was not yet a rabbi when she was tapped to lead a seder, to teach Hebrew, and to organize an egalitarian minyan in her home city of Berlin. She happened to be in the right places when help was needed, recalls Ederberg, who was pursuing a degree in Jewish studies at the time. She wondered: Could she be doing more?

Three decades later, Ederberg is a veteran rabbi of Berlin’s first official egalitarian congregation on Oranienburger Strasse — and this month she reached a new milestone.

She was installed last week as the international head of the Conservative/Masorti movement’s Rabbinical Assembly, the organization representing more than 1,600 rabbis worldwide. For the first time, the group is being led by a European rabbi.

Her installation marks another milestone as well. “As far as the Rabbinical Assembly is aware — Rabbi Ederberg is the first Jew by choice to serve as president,” said a spokesperson for the organization.

For observers of Jewish life in Germany, the moment carries symbolic weight.

“This is quite an extraordinary deal, actually, because there’s never been a non-American or non-Israeli to head the Rabbinical Assembly,” said Deidre Berger, an American who has lived in Germany for more than 40 years and serves on the boards of both the German and worldwide Masorti organizations.

“It’s also a major step forward in relations between a broader group in the American Jewish community with Germany — with being willing to acknowledge that postwar Jewish life did get relaunched in Germany and is here to stay,” added Berger, the former head of the American Jewish Committee office in Berlin.

Rabbi Jacob Blumenthal, CEO of both the Rabbinical Assembly and the United Synagogue of Conservative Judaism, said Ederberg’s election also reflects the movement’s embrace of Jews by choice.

“Welcoming converts is one of the ways in which our communities are growing and thriving,” he said. “So to have a colleague who made this choice to lead a Jewish life and then to become a rabbi is certainly something to celebrate.”

Ederberg’s installation took place in two parts: last week at Congregation Beth Sholom in Teaneck, New Jersey, followed by a second ceremony on Tuesday in Berlin, where her synagogue received a Rabbinical Assembly Torah mantle that remains with each president during their term.

“I will see it every time we open the ark,” she said. “It will be a reminder of my new responsibilities.”

Born in 1968 in the German city of Tuebingen, Ederberg grew up in a Lutheran family. Her father was in charge of his church’ youth exchanges with Israel, and Israeli teenagers often visited the family home. She traveled to Israel for the first time at age 13, an experience that helped cement what she said was “a deep connection” with the country and its people.

Ederberg later earned a master’s degree in Protestant theology. But her involvement in Jewish-Christian dialogue deepened her interest in Judaism, leading her to pursue Jewish studies in Berlin and eventually convert in 1995 at the Jewish Theological Seminary there.

Her decision grew partly out of her fascination with Jewish texts. “I was loving the texts,” she recalled early in her rabbinic career.

But it was also theological. She had come to believe that “the anti-Jewish tradition was an intrinsic part of Christianity,” she said at the time, and rejected interpretations portraying Judaism as obsolete.

Conversion, she added, was “a long and difficult process. You only get there if you really want it.”

Ederberg was ordained in 2002 at the Schechter Institute of Jewish Studies in Jerusalem. Her husband, Nils Ederberg — whom she met when both were Protestant students of Jewish studies — is also a rabbi. Ordained at Berlin’s Abraham Geiger College in 2014, he now serves as a military chaplain in Hamburg. The couple has three children.

After serving her first pulpit in Weiden, Ederberg returned to Berlin in 2007. There she became the first woman to serve as a rabbi in the city since Regina Jonas, a Liberal rabbi ordained in 1935 who was murdered by the Nazis, and only the second woman to hold a synagogue pulpit since the Holocaust.

She has helped build institutions for Germany’s small Masorti movement, founding Berlin’s Masorti elementary school in 2018 and serving as a founding member of Germany’s General Rabbinical Conference for non-Orthodox rabbis. She also served as a rabbinic adviser to the Zacharias Frankel College Conservative seminary at the University of Potsdam.

At the same time, she rose through the leadership ranks of the Rabbinical Assembly, serving in several voluntary roles before being elected vice president two years ago. She was elected president in December, succeeding Rabbi Jay Kornsgold of New Jersey, becoming the third woman to hold the role.

Ederberg’s installation comes at a challenging time for what was once America’s largest Jewish denomination, but has for years faced declining membership. As a centrist movement committed to what has been called “tradition and change,” it sits between a growing Orthodoxy on one side and a liberal Reform movement that has historically been far swifter to innovate.

Her installation also comes as broader changes in attitudes toward Jewish life in Germany have shifted. For decades after World War II, many American Jewish institutions viewed Germany as an unlikely place for Jewish communal revival.

Ederberg’s mentor, Rabbi Ismar Schorsch, the former chancellor of the Jewish Theological Seminary of America who encouraged her to pursue ordination, described her as “both the agent and the symbol of the potential of Conservative Judaism to flourish once again in Germany.”

That revival has taken place alongside a transformation of Germany’s Jewish population. Before World War II, about 500,000 Jews lived in the country. After the Holocaust only a small community remained, but immigration from the former Soviet Union beginning in the late 1990s helped rebuild Jewish life. Today roughly 100,000 Jews belong to congregations in Germany, with a similar number unaffiliated.

There are currently two Masorti congregations in the country: Ederberg’s in Berlin and another in Cologne.

Her congregation meets upstairs in a chapel attached to the New Synagogue on Oranienburger Strasse in former East Berlin. The mid-19th-century building was heavily damaged during World War II; its windows overlook the empty courtyard that once held the synagogue’s Torah ark and pews. Today, congregants gather in restored spaces, including a hall above what once served as the women’s gallery.

While other synagogues now offer egalitarian services, Ederberg’s congregation once served as an incubator, giving many women their first opportunity to read Torah from the bimah.

“On the one hand, it’s an intimate setting in her synagogue,” Blumenthal said. “But also you see the depth of both knowledge and commitment of the folks who are part of her community.”

Ederberg knows that for some people, her German Christian background remains a hurdle. Jewish identity in Germany today often reflects complicated family histories shaped by the upheavals of the 20th century.

Not only are there numerous converts like herself; there also are many Jews with a mother or grandmother who survived the Holocaust and a father or grandfather who served in the Wehrmacht, she noted. The question of Jewish identity in Germany, Ederberg said, “is a broader question about individuals and their family history.”

Her own family history reflects that complexity: Both of her grandfathers served in World War II, one dying at Stalingrad and the other working as a mechanic.

Ultimately, she said, the mentorship she received from three German-born Jewish figures — Schorsch as well as Israeli educators Alice Shalvi and Zeev Falk — proved decisive.

Back when she was an accidental rabbi, called upon to lead seders and services and to teach in a pinch, Ederberg hadn’t made up her mind whether to pursue ordination. She might have chosen to become a diplomat, she says, if it had not been for those three mentors who took her by the hand.

“Their encouragement, their push towards rabbinical school, their push towards, ‘Yes, you should go back to Germany and do what you’re doing,’ was really crucial,” she said.

The post Berlin rabbi makes history as first European to head Conservative rabbis’ association appeared first on The Forward.

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Fox’s Bible story miniseries puts women front and center

Depending on where you start the clock, the founding of the Jewish nation was partially born of an act of extreme cruelty.

When Sarah welcomed Isaac, after decades of trying for a child, she persuaded Abraham to send away her handmaiden Hagar and her son by him, Ishmael. That God provided for the child and his mother in the wilderness, and made a great nation of Ishmael’s descendants, was a worthy consolation. But could Sarah have known this blessing would come to pass?

In the first installments of Fox’s shiny new six-part, Sunday school miniseries, The Faithful: Women of the Bible, debuting March 22, it is Hagar (Natacha Karam) who narrates the story of Sarah. Though their dynamic was complicated — the OG Handmaid’s Tale — Hagar concludes that Sarah was a friend, and through the ages, “came to symbolize motherhood” as the “first of the great matriarchs.”

The mission statement of The Faithful, devised by an interfaith team and written by Star Trek alum René Echevarria and directed by Danny Cannon (CSI, Judge Dredd, Geostorm), is to foreground the stories of women in the biblical narrative. To that end, Sarah —played by Minnie Driver, using her natural British accent, forcing Yank Jeffrey Donovan’s Abraham to match her Received Pronunciation — has more agency than she did in Genesis.

It is Sarah (then still Sarai) who tells the pharaoh that Abraham is her brother and dodges the monarch’s advances with the help of some divine intervention. Leaving the palace, she manages to liberate Hagar, who was enslaved there.

Billed in the first episode title as “The Woman who Bowed to No One,” this Sarah is strong-willed, petitioning the almighty, with screams and some hurled offerings, to open her womb. As in scripture, it is her idea to give Hagar to Abraham to produce an heir. Only in this iteration there’s a quid pro quo: If Hagar gives Abraham a child, Sarah will help her return to her homeland. When the baby comes, Hagar reneges, sparking Sarah’s jealousy and the pretense that Hagar is not Ishmael’s real mother.

When Isaac arrives, heralded by three hooded strangers who stop by Abraham’s tent before firebombing Sodom and Gemorrah, the friction between Ishmael and his younger, legitimate brother is too much for Sarah.

“Cast them both out,” she tells Abraham. “We have to protect Isaac no matter the cost.”

The scene is uncomfortable. The actor playing Ishmael is brown with a different accent than Driver or Donovan. The child actor playing Isaac is blond, and Abraham hoped he’d have his mother’s light eyes.

Josephus and Jewish tradition regard Ishmael as the founder of the Arab nation. In Islam, he, not Isaac, is Abraham’s heir and the son who experienced the would-be sacrifice of the akedah. It will perhaps be difficult for some to watch white actors settle Canaan and exile people of color and not recall the narrative now surrounding Israel, and the meme of just about everything being promised to Jews 3,000 years ago.

But The Faithful is too dull to be truly provocative.

A common refrain has Abraham describing his wish to stand with his bride, “shoulder to shoulder, no matter what.” We see their early courtship beginning when Abraham (then Abram) helps her to disrupt an arranged marriage and gifts her a blue shawl — the fact that they may have been half-siblings is duly glossed over. It’s Tanakh by way of Nicholas Sparks.

Making Hagar a passive protagonist is an interesting twist, but the proceedings are too rooted in the mythic to fully capture the human drama at the story’s core. (Her journey, in which she grabs a rock from her homeland, and decades later places it on Sarah’s grave, dubiously suggests the origins of a familiar Jewish custom.)

The series has reasonable production values — which will go on to track Rebekah, Rachel and Leah — and since it’s based on the most popular book of all time, there’s a built-in audience that could certainly overlook some hackneyed writing and soap opera acting. As far as entertainment of this ilk goes, the show is of the highest caliber, admittedly faint praise.

The tales were meant to be retold, and we see Abraham developing the Jewish oral tradition, speaking of Eden and the Tower of Babel around the campfire. One night he teases the story of Sarah’s cunning escape from Pharaoh’s court.

Sarah laughs, chiding him for presenting the incident “as if it were one of the sagas.”

“Who knows,” Abraham all but winks at the viewer, “it might be one day.”

It is, but not all tellings are created equal.

The post Fox’s Bible story miniseries puts women front and center appeared first on The Forward.

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Israeli couple killed by Iranian cluster bomb as Israel continues assassinating Iranian officials

(JTA) — A couple in their 70s were killed overnight Tuesday by an Iranian missile, apparently as they tried to reach a bomb shelter, amid an especially intense barrage of missiles aimed at the Tel Aviv area.

Yaron and Ilana Moshe were killed near their home in Ramat Gan, an upscale suburb of Tel Aviv; a walker found near their bodies suggested that they were on their way to shelter but could not move quickly, officials said. Damage from the cluster munitions, which shed smaller bombs as they land, was also reported at other sites including a main train station in Tel Aviv.

The barrage, Iran said, was retaliation for the killing the day before of Ali Larijani, the country’s security minister and a close ally of its assassinated supreme leader, Ayatollah Ali Khamenei.

Shortly afterwards, Israel announced that it had assassinated another top official, intelligence minister Esmaeil Khatib. The Israeli military said in a statement, “Khatib played a significant role during the recent protests throughout Iran, including the arrest & killing of protestors and led terrorist activities against Israelis & Americans around the world.”

Israel’s defense minister, Israel Katz, warned that “significant surprises” would be ahead as Israel continued to pummel targets in Iran.

A Wall Street Journal story published Wednesday details how Israel says it is choosing its targets, describing an extensive list of sites and people who are in its crosshairs. Israel knew security officers would gather in sports complexes after their offices were destroyed, then bombed the complexes once they were full, for example, according to the story, which says Iranians say order is beginning to fray on the streets but the regime appears far from falling. Israel said earlier this week that it had three more weeks of targets to work through.

Israel has also stepped up its campaign in and around Beirut, where it is targeting forces affiliated with Hezbollah, the Iranian proxy that operates out of Lebanon and has been bombing Israel since earlier this month.

The post Israeli couple killed by Iranian cluster bomb as Israel continues assassinating Iranian officials appeared first on The Forward.

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