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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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The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.

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How a Jewish play from 1908 enshrined the idea of America as a cultural ‘melting pot’

It’s long been unfashionable to refer to the United States as a “melting pot.” Identity politics and multiculturalism have undermined the ideal of an assimilation so complete that it obliterates ethnic distinctions. Now the persistence of difference is hailed, at least in some quarters, as enriching rather than estranging, even if the associated metaphors — “salad bowl,” “kaleidoscope,” “mosaic” — lack poetic vigor.

The first reference to the U.S. as a melting pot is said to date to J. Hector St. John de Crèvecoeur’s 1782 Letters from an American Framer, in which he wrote: “Here individuals of all nations are melted into a new race of men.” Similar notions surfaced in the writings of Ralph Waldo Emerson, Henry James and the historian Frederick Jackson Turner. But it was Israel Zangwill’s 1908 play, The Melting Pot, that injected that industrial metaphor into the national consciousness.

Set in New York City, the play is a love story between a musically gifted Russian Jewish immigrant of Sephardic extraction and a gentile settlement house worker from the pogrom-wracked city that he fled. Its backdrop is the turmoil of an early 20th-century America trying to make sense of massive waves of Eastern European, and particularly Jewish, immigration. The playwright was an English Jew, a disillusioned Zionist who had begun looking to the U.S. as the promised land.

After its debut in Washington, where it was praised by President Theodore Roosevelt, The Melting Pot moved to Broadway in 1909 and has since enjoyed occasional revivals. Crescendoing debates around immigration, antisemitism and who deserves to be an American seem to lend it renewed currency.

So, at least, was the reasoning of Jesse Bernstein, producing artistic director of Philadelphia’s Theatre Ariel, whose focus is Jewish-themed work. Bernstein adapted and directed Zangwill’s play, and has teamed with the Philadelphia Artists’ Collective, which produces rarely seen classics, to mount it. Their streamlined, modern-dress version, part of the America250 celebration, opened Wednesday at Philadelphia’s historic Arch Street Meeting House.

The characters in Zangwill’s play represent a spectrum of early 20th-century attitudes. Photo by Wide-Eyed Studios

Bernstein said in an interview that he pruned as much as half an hour from the original (it now runs about 95 intermission-less minutes) with an ear to modern sensibilities. He also has made some additions that undercut the play’s triumphalism. The Melting Pot nonetheless remains an odd fusion of melodrama and polemic, interesting mostly as an historical curiosity.

Bernstein’s direction does the piece no favors with a stiff, presentational style, in which characters frequently address the audience rather than one another. On the other hand, when they turn away, the meeting house’s unfavorable acoustics make them more difficult, sometimes impossible, to hear. Offstage characters sit in chairs behind the action awaiting their cues. Meghan Jones’s spare set, representing both the Quixano family home and different locations within the settlement house, is draped with oriental rugs and strewn with steamer trunks and valises.

The protagonist, David Quixano, played with endearing sensitivity by Adam Galloway, survived the infamous 1903 Kishinev pogrom, in which all his immediate family were murdered and he himself was shot and left for dead. After that trauma, America has become both his dream and his salvation. In New York, he lives with his cynical uncle, Mendel, also a musician; his Yiddish-speaking grandmother; and an Irish American housemaid, Kathleen (Jessy Gruver), who wrestles comically with Jewish customs and dietary laws.

Through a violin concert, David meets and falls for the lovely Vera (Lexi Thammavong), a former Russian “revolutionist” who now combats poverty through settlement house work. David is composing an American symphony that will convey his rapturous views of his adopted homeland. He finds a ready admirer in the German conductor Herr Pappelmeister (Adam Pelta-Pauls, speaking convincing German).

Israel Zangwill, 1913. Photo by Topical Press Agency/Getty Images

Standing in David’s way, personally and professionally, are two villains — the wealthy, unscrupulous nativist Quincy Davenport (Eli Lynn), a married man who lusts after Vera,  and Vera’s estranged father, Baron Ravendal (Brian McCann), a reactionary Russian military commander who turns up unexpectedly. McCann brings a strangely mannered intensity to a role that is already a caricature.

Zangwill’s characters represent a spectrum of early 20th-century attitudes. Ravendal and Davenport, brutal in different ways, both give free rein to their antisemitism. Frau Quixano (played by a bewigged McCann) and Mendel Quixano (J Hernandez, appropriately world-weary) reflect the resistance of older immigrants to assimilation — and especially to its culmination in interfaith romance.

The Melting Pot is deadly serious at times, larded with apocalyptic symbolism and images of Jewish suffering. But it also has its share of comedy, including the maid Kathleen’s gradual embrace of Jewish traditions and some playful digs directed at critics.

It is up to David, the musical prodigy, to articulate the famous message at the play’s core. Early on, he declares his fealty to a new American ideal:

America is God’s Crucible, the great Melting-Pot where all the races of Europe are melting and re-forming! …A fig for your feuds and vendettas! Germans and Frenchmen, Irishmen and Englishmen, Jews and Russians—into the Crucible with you all! God is making the American. The real American has not yet arrived. He is only in the Crucible, I tell you — he will be the fusion of all races, perhaps the coming superman.

David returns repeatedly to this soaring rhetoric, lauding American greatness born of industrial-grade homogenization, and seeking to embody it in his symphony.

The original play ended exuberantly, with both love and David’s melting pot vision of “the glory of America” conquering all. Bernstein’s adaptation, with its insistence on relevance, duly complicates that vision. He wraps the action with supporting characters challenging David’s view of American harmony, and with the future of the betrothed couple clouded in doubt.

The Melting Pot runs at the Arch Street Meeting House, 320 Arch St., Philadelphia, through Nov. 8.

The post How a Jewish play from 1908 enshrined the idea of America as a cultural ‘melting pot’ appeared first on The Forward.

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‘I wanna blow up a synagogue’: Online posts lead to hate crime charge against Utah man

(JTA) — A Utah man accused of possessing explosive devices, searching online for nearby synagogues and making online threats to kill Jews is due in court Friday to face charges including attempting to commit a hate crime.

A federal grand jury indicted Skyler AJ Rose, 22, on Wednesday, the Department of Justice said in a release.

Rose allegedly made threats on social media, including “I wanna blow up a synagogue,” leading the FBI to join the Ogden City Police Department in a search of his home, where they allegedly discovered six pipe bombs, two rifles and ammunition.

A review of a cellphone seized from the home allegedly showed that Rose had searched online for a nearby synagogue, according to the Department of Justice.

The charges Rose faces include possession of an unregistered destructive device, threats to kill and injure people and to destroy a building, and attempting to commit a hate crime.

This article originally appeared on JTA.org.

The post ‘I wanna blow up a synagogue’: Online posts lead to hate crime charge against Utah man appeared first on The Forward.

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Will this election end the battle over drafting Haredi men into the Israeli army?

(JTA) — Whether to extend military conscription to haredi men, a longstanding question  fueling political tensions in Israel, has boiled over since Hamas launched the current war with Israel with its deadly raids on Oct. 7, 2023.

Hundreds of thousands of Israeli soldiers and reservists battled on Israel’s southern and northern fronts and the manpower needs, especially in combat units, increased dramatically. Reservists served for extended periods and many of those serving in the standing army were forced to remain for an extra four months or longer – at an enormous price to soldiers’ families and to Israel’s economy. For the ultra-Orthodox, the Torah study that young men carry out in place of military service provides an important spiritual defense for the Jewish state. Community leaders are extremely fearful that young men will be unable to practice or outright abandon a haredi lifestyle as a result of army service with secular and modern Orthodox Jews.

In some parts of the country, families continue to bury their dead from the battlefield, while in others Haredi protestors block roads and tussle with police to avoid the draft. The preferred political solution of kicking the can down the road on this deeply divisive issue – which has lingered in legislative limbo for decades – might finally come to an end with the Oct. 27 elections.

Which Israelis are currently drafted to the army, and what are their conditions of service?

Most Jewish Israeli men and women are subject to compulsory service at age 18. Men currently serve 32 months, and women generally serve 24, although some roles require longer service. Conscripts are generally allowed to defer service for a year or two in order to attend pre-military programs. Exemptions for service may apply for medical, religious, family or other legally recognized reasons. Druze and Circassian men are generally drafted, while Israeli Arabs are generally not. Conscripts who ignore draft orders are subject to sanctions that can ultimately lead to imprisonment.

Upon completion of compulsory service, most soldiers are placed in reserve units, and are called up periodically for training and for active duty in wartime. Reserve duty is generally mandatory until age 40 for non-officers and 45 for officers. Enforcement of a call up order for reserve duty is traditionally less severe than enforcement of compulsory service; sanctions against reservists who avoid call ups are rare.

Following the outbreak of war on Oct. 7, hundreds of thousands of reservists were called up for extended periods. Between the outbreak of war and the end of 2025, some 28% of male reservists and 20% of female reservists served for over 150 days. Current IDF policy allows for up to 55 days of reserve duty per year for combat soldiers, compared to a cap of 54 days over three years (18 days per year on average) prior to the war.

Are Haredim legally exempt from IDF service?

No. Historically, a small number of full-time haredi yeshiva students were allowed to defer service until they aged out of eligibility, amounting to a de-facto exemption. As the share of Haredim in the population grew, so did legal challenges to their exemption, on grounds of inequality. Since June 2023, there are no longer any legal exemptions in place for haredim, and all haredi men face the same legal requirement to enlist as non-haredim.

What is the mainstream haredi approach to IDF service?

Haredim generally oppose IDF service, although recently some small groups of modernizing haredim appear more open to it. Haredi officials and spiritual leaders argue the Torah study that young men carry out in place of military service provides an important spiritual defense for the Jewish state. At the same time, haredi community leaders view the IDF as a bastion of secularism and are fearful that haredi men will not be able to maintain their lifestyle during service.

Historically, how did the draft exemption for Haredi men begin?

In 1948, Prime Minister David Ben-Gurion agreed to exempt about 400 yeshiva students so Torah scholarship could be rebuilt after the Holocaust. The arrangement expanded gradually, as the military and political leadership tolerated the arrangement for practical and coalition-building reasons. In 1977, Menachem Begin’s government removed important limits on the haredi exemption. As a result, the number of draft-age Haredi men outside the army grew from roughly 7,000 in the late 1970s to tens of thousands by the 2020s.

When did opposition to the exemption first arise?

Opposition grew sharply in the 1980s and 1990s as the haredi IDF exemption grew significantly. Legal challenges to the exemption were initially rebuffed by the court, but were eventually successful, as the Supreme Court in 1998 first deemed the exemption illegal, and ruled that such an exemption needed to be anchored in legislation that met constitutional standards of equality.

Following the 1998 ruling, how did ensuing coalitions deal with this issue?

The two decades following the 1998 ruling saw various legislative and policy proposals aimed at increasing haredi enlistment. Two laws passed, in 2002 and 2014, but both were eventually struck down by the court on grounds of inequality, as they still enabled widespread haredi exemptions. The second law was struck down in 2017, but the court approved numerous extension requests by the government for the provisions of the law to continue to apply until it could come up with a new law. This left the de-facto exemption in place until the law finally expired in June 2023.

Why did coalitions keep trying to exempt significant numbers of haredim instead of drafting them?

First, haredi parties wield significant political power. In recent decades they have usually occupied 15-20 seats in the 120-member Israeli Knesset, and since 2009 have been part of Netanyahu’s right-wing bloc, save for two years (2013-2015). Governments have been wary of enlisting haredim en masse so as not to lose the support of haredi politicians.

Second, the IDF has not always been keen on drafting haredim. Haredim require special accommodations in terms of Kashrut and mixed-gender military bases. Haredim also go through an autonomous education system and special efforts are required to instill in them the motivation and sense of duty that are prevalent in general Israeli society.

So have any haredim served in the IDF in recent decades?

Yes, some specific programs have opened up for haredim, mainly in technology-oriented units. The numbers of annual haredi draftees has fluctuated, but in the years leading up to the expiration of the draft law the average was slightly over 1,000.

What changed in the IDF’s perspective and the perspective of the general public after Oct. 7?

The mass call-up of reservists for extended periods of time brought many Israelis to experience the inequality between them and the haredi public first hand. In addition, the expansion of the war to numerous fronts and new security requirements led to a manpower shortage in the IDF, especially of combat soldiers. Officials have described the shortfall as a national-security issue, and the roughly 100,000 Haredi men aged 18 to 29 are viewed as the only large available pool of potential combat recruits. Researchers have also pointed out that without a new policy the inequality in Israeli society will continue to grow – by 2050 over 40% of the 18-year-old potential male Jewish recruits will be haredi.

What was the outgoing Netanyahu government’s policy after Oct. 7?

The government did not implement significant policy changes to begin drafting haredim in significant numbers, and refrained from instituting sanctions that could have increased the price of draft evasion. The government’s inaction was challenged in court, and the Supreme Court ruled in June 2024 that barring a new law, the continued exemption was illegal. However, the government has continued to push back on attempts by the Attorney General, who leads Israel’s law enforcement apparatus, to abide by the ruling and begin taking measures to increase haredi draft numbers. The government argued in its defense that it was working on a new law which required time.

Did the government pass a new law?

No. The Netanyahu government attempted to pass a new law that would have incrementally increased haredi draft numbers while enabling the majority of haredim to remain exempt. The attempts failed due to push back from legal authorities, the political opposition, the general public, and a number of politicians from within the coalition. Instead, in July 2026, in the final weeks of parliamentary activity prior to the election recess, the Netanyahu-led coalition passed a law to freeze enforcement against haredi draft evaders until after the election. On September 3rd, the Supreme Court struck down this law as well.

So haredi draft numbers have remained at pre-war levels?

No. In order to abide by the 2024 Supreme Court ruling and the Attorney General’s interpretation of that ruling, government officials working within the different ministries removed certain subsidies and privileges from draft evaders, and the police and IDF gradually increased their enforcement efforts. The number of haredi draftees rose as a result. Between July 2025 and the end of June 2026, some 4,298 haredim enlisted, as opposed to 2,811 haredim in the parallel period in 2024-25.

How have haredi rabbis, politicians and the general public responded to growing demands that they enlist?

Leading rabbis affiliated with the three main haredi parties – the non Hasidic Degel Hatorah party, the Hasidic Agudat Yisrael party and the Sephardic Shas party – forcefully opposed IDF service, with some explicitly calling on young haredi men to ignore draft orders should they receive them. Politicians from the three parties also voiced strong opposition to a large increase in haredi draftees, and were willing only to consider minor increases.

A large majority of haredim who received draft orders ignored them, and approximately 90,000 haredi men are legally considered draft evaders, with levels of severity increasing the longer they ignore the orders. Some arrests of draft evaders were met by mass protests and disturbances, including in recent weeks. Some more modernized haredim have increasingly expressed a willingness to serve. These views are represented in two new haredi parties participating in the current election, called Hakahal (roughly translated as “the community”) and Hatzibur Haharedi (“the haredi public”).

 Is the haredi draft issue prominent in the election campaigns?

Yes. In a recent poll by the Israel Democracy Institute, a proposition that the next government should draft haredim equally received the most support among a series of propositions. Nearly all of the Zionist opposition parties have made their intention to increase the haredi draft a prominent part of their campaigns. Some opposition party leaders have attempted to frame the election as a choice between the “draft evasion bloc” and the “bloc that serves.” On the other hand, some haredi rabbis and party leaders have expressed their disappointment with Netanyahu’s failure to manufacture a new exemption, and have stated that they no longer view themselves as part of the Netanyahu bloc. However, they have not stated support for any other candidate and are likely to side with Netanyahu again if he is able to form a new government.

What are the most likely scenarios after the next government is formed?

Three outcomes are plausible:

  1. A compromise: full-time Torah scholars receive a narrow exemption, while others perform military or civilian service under threat of sanctions.
  2. Continued stalemate: the government delays enforcement, leading to further court battles and coalition crises.
  3. Broad enforcement: a government less dependent on haredi parties implements substantially wider enlistment.

The first scenario is probably the most politically workable, but the details will determine whether the courts accept it.

This article originally appeared on JTA.org.

The post Will this election end the battle over drafting Haredi men into the Israeli army? appeared first on The Forward.

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