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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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Reform Judaism helped craft the Voting Rights Act. Its evisceration gives Jews a new mission

Last week, the Supreme Court further gutted what is left of the Voting Rights Act of 1965. The Court’s ruling was terrible for the country, and particularly for communities of color whose votes will be diminished by this decision. But the ruling touched another, very personal nerve because the Voting Rights Act was partially drafted in my office, the Religious Action Center of Reform Judaism.

The RAC is a longtime hub of civil rights activity. From the earliest days after our 1962 dedication, Reform movement staff with the RAC worked alongside the staff of other civil rights and public interest organizations, including the Leadership Conference on Civil Rights. The era’s social justice luminaries, our movement’s leaders among them, would gather around our conference table to discuss, debate and craft policies to address racial injustices — including legislation that became the Civil Rights Act of 1964 and Voting Rights Act of 1965.

Many American Jews have no idea of our community’s connection to the law’s origins, rooted in a Jewish commitment to working across lines of difference and in an understanding that our safety is in solidarity with other marginalized communities who experience bigotry. But as Jews, we all know that we can only flourish in a true democracy in which every voice is heard, because every vote counts equally.

For decades, section two of the Voting Rights Act helped ensure that voters of color had a fair opportunity to participate in the political process. By narrowing how states can use race data to draw electoral maps, the Court’s ruling will dilute the voices of communities of color, and further weaken a law often called the “crown jewel” of the Civil Rights Movement — one that was the product of a moral struggle in which people of many faiths, including Jews, risked their lives.

Rabbi Dick Hirsch, the founder of the RAC marched with Dr. Martin Luther King Jr. in Selma because he understood that American Jewish safety is tied to the health of American democracy. During Freedom Summer, Andrew Goodman and Michael Schwerner — two white, Jewish men — were murdered alongside James Chaney, a non-Jewish Black man, while registering voters in Mississippi. Goodman and Schwerner did not see voting rights as someone else’s issue, but understood fighting for them to be a Jewish obligation.

That understanding is rooted in Jewish tradition. The Talmud teaches that “a ruler is not to be appointed unless the community is first consulted.” The VRA, which was reauthorized repeatedly over the decades by bipartisan majorities in Congress, was a crucial step to ensuring that communities of color were fairly consulted on the issues that affect their lives.

For decades after Reconstruction, Black representation in Congress was negligible and at times effectively nonexistent. That began to change only after the VRA became law. Today, there are more than 60 Black members of Congress, the highest number in American history. That progress was not inevitable. It was the direct result of legal protections that ensured fair access to the ballot.

By making it easier for states to defend discriminatory maps under claims of partisanship, the Court has weakened one of the most important tools to ensure fair representation. The result will be fewer fair Congressional maps — an effort well underway, in the wake of the decision, in states like Tennessee — less representative institutions, and a political system that reflects fewer voices.

Some will argue that this is simply the normal push and pull of constitutional interpretation, but history suggests otherwise. When democratic norms weaken, minority communities are among the first to feel the consequences.

For American Jews, this progression is not theoretical. Our security and prosperity, in this country as others, have depended not only on physical protection, but also on good laws, functional institutions and a system of checks and balances that uphold equal rights and reject discrimination.

George Washington recognized this in his 1790 letter to the Jewish community of Newport, Rhode Island, in which he promised that the United States would give “to bigotry no sanction, to persecution no assistance.”

In recent years, we have seen how fragile those protections can be.

Antisemitism has risen sharply, often alongside forces that divide Americans along racial, ethnic, and political lines. Efforts to weaken voting rights, undermine trust in elections and concentrate power do not occur in isolation. They are part of a broader pattern that threatens the pluralistic democracy on which Jewish life in the U.S. depends.

When the Court took a major piece out of the VRA in 2013’s Shelby v. Holder decision, Justice Ruth Bader Ginsburg famously warned in her stinging dissent that the Court’s decision was “like throwing away your umbrella in a rainstorm because you are not getting wet.” Today, the rain has not stopped. If anything, it is falling harder.

We must persevere through this storm. The path forward will not be easy, but it is clear.

In legislatures, we must push for stronger protections, among them state-level voting rights acts and renewed federal legislation. In the courts, advocates must continue to challenge discriminatory practices wherever possible. And at the ballot box, citizens must exercise their right to vote with renewed urgency.

For the Jewish community, this is a moment to organize. Through initiatives such as the Reform Movement’s 2026 Every Voice, Every Vote campaign, Reform Jews and our allies are working to expand access to the ballot and defend the democratic system that has allowed our community to thrive. This is how we put our values into practice.

Democracy requires participation, vigilance and a willingness to defend the rights of others. It demands that we act against all wrongdoings, not only when our own rights are directly threatened.

For Jews, that responsibility is part of our tradition and our history. As Rabbi Hirsch famously observed at the RAC’s dedication, “our forefathers did not rest with the issuance of general pronouncements from the detached heights of Mt. Sinai. They descended into the valley of reality.”

The Supreme Court decision is not just another technical shift in election law. It is a setback for American democracy, and for those of us who understand that democracy is not just a system of government but a moral commitment.

The question is whether we will meet this moment.

Democracy will not defend itself.

The post Reform Judaism helped craft the Voting Rights Act. Its evisceration gives Jews a new mission appeared first on The Forward.

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Majority of New York City Jewish Voters Dissatisfied With Mamdani, Poll Shows

New York City Mayor Zohran Mamdani holds a press conference at the New York City Office of Emergency Management, as a major winter storm spreads across a large swath of the United States, in Brooklyn, New York City, US, Jan. 25, 2026. Photo: REUTERS/Bing Guan

A new poll of Jewish voters in New York City points to deep dissatisfaction with Mayor Zohran Mamdani’s leadership, particularly over his handling of rhetoric tied to the Israel-Hamas conflict.

The survey, conducted by Mercury Public Affairs in partnership with The Jewish Majority, sampled 665 Jewish voters who cast ballots in last year’s mayoral election between Feb. 17 and 28. Its findings suggest a growing disconnect between Mamdani and the local Jewish community, building upon an already tense and fraught relationship.

According to the newly released poll, 58 percent of respondents rated Mamdani’s job performance as “fair” or “poor,” including 40 percent who said it was “poor.” Just 32 percent said he was doing an “excellent” or “good” job. The numbers indicate that a clear majority of Jewish voters surveyed are dissatisfied with the direction of the city under the mayor’s leadership.

The survey also highlights sharp concern over Mamdani’s response to the phrase “globalize the intifada,” a slogan widely condemned by pro-Israel advocates as inciting violence against Jews. Sixty-one percent of respondents said the mayor’s refusal to explicitly denounce the phrase has “emboldened pro-Hamas protesters,” reflecting alarm among many Jewish voters about rising antisemitism and public safety.

For many in the community, the issue goes beyond rhetoric. Critics argue that failing to clearly reject language associated with violence risks normalizing extremism at a time when Jewish communities in the US and globally have reported increased threats. New York City has experienced an ongoing surge in antisemitic hate crimes in the two-and-a-half years since Hamas’s Oct. 7, 2023, massacre across southern Israel.

The “glogalize the intifada” slogan, which gained traction at pro-Palestinian protests worldwide amid the Israel–Hamas war in Gaza, has been criticized by many Jewish New Yorkers who associate it with calls for violence against Jewish and Israeli civilians. The term “intifada,” Arabic for “uprising,” is widely known from two bloody periods of sustained Palestinian terrorism against Israelis. Many observers have argued that calls to “globalize the intifada” encourage activists to take up political violence worldwide, especially against the Jewish community and supporters of Israel.

In June 2025, Mamdani defended the phrase by invoking the Warsaw Ghetto Uprising during World War II. In response, the US Holocaust Memorial Museum repudiated the then-mayoral candidate, calling his comments “outrageous and especially offensive to [Holocaust] survivors.”

Mamdani has also faced scrutiny over his handling of issues pertaining to antisemitism and the Jewish community. The Mamdani administration revoked the city’s adoption of the International Holocaust Remembrance Alliance (IHRA) definition of antisemitism when the mayor entered office, arguing that rigid definitions can risk conflating criticism of Israel with antisemitism and may complicate the handling of politically sensitive speech.

IHRA — an intergovernmental organization comprising dozens of countries including the US and Israel — adopted the “working definition” of antisemitism in 2016. Since then, the definition has been widely accepted by Jewish groups and lawmakers across the political spectrum, and it is now used by hundreds of governing institutions, including the US State Department, European Union, and United Nations. Law enforcement also uses it as a tool for matters such as hate-crime investigations and sentencing.

The mayor’s office has also voiced support for divestments from Israeli bonds. The suggestion has received substantial pushback from the city’s business community, noting that the bonds have been a safe, long-standing investment for city pension funds and that financial decisions must be separated from political pressure. City Comptroller Mark Levine recently touted the bonds’ decades-long record of repayment and argued his office’s responsibility was to maximize returns for retirees, not respond to shifting political campaigns.

The poll’s findings align with voting patterns from the most recent mayoral election, in which Mamdani struggled to win broad support among Jewish voters. He received 26 percent of the vote within the group, far behind his chief opponent, former Gov. Andrew Cuomo, who secured 55 percent. Republican candidate Curtis Sliwa received 8 percent.

Observers speculate the numbers could pose a longer-term challenge for Mamdani as he navigates a city with the world’s largest population outside of Israel.

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Molotov Cocktail Attacks Target Jewish Institutions in Argentina in Two Incidents Within a Week

A display in Buenos Aires of pictures and names of victims of the 1994 AMIA bombing, in which 85 people died and hundreds more were wounded. Photo: Reuters/Marcos Brindicci.

Argentine Jews are on edge after Jewish institutions in Buenos Aires were targeted in Molotov cocktail attacks in two separate incidents in less than a week, deepening security concerns within the local Jewish community.

On Sunday, unknown individuals threw a homemade firebomb at the Chabad Lubavitch Jewish Community Center in La Plata, a city in southeastern Buenos Aires, in a brazen attack marking the second within a week.

Local authorities reported no significant material damage or casualties, though the incident has fueled alarm over a broader pattern of violence targeting Jews across the country.

The Buenos Aires Security Ministry and Police Counterterrorism Division have opened an investigation into this latest incident, examining possible links to an attack last week that appears to share a similar modus operandi.

The Delegation of Argentine Israelite Associations (DAIA), the country’s Jewish umbrella organization, strongly condemned this second attack, warning of a disturbing pattern of incidents and calling for an urgent investigation and clear condemnation.

“Violence must be countered through education and by bringing those responsible to justice. When hatred goes unpunished, it escalates, and today it is once again surfacing in tangible acts that cannot be normalized,” DAIA said in a statement.

“There is no room for indifference. Antisemitism is not an isolated incident, it is a threat that demands a firm response, coordinated institutional action, and the strict enforcement of the law,” it continued.

In an alarming earlier attack, the Israelite Literary Center and Max Nordau Library in La Plata was targeted Thursday when unidentified individuals threw a homemade Molotov-type device at the building’s entrance.

Although the device failed to ignite, it shattered the building’s windows and caused some material damage. Fortunately, no fires broke out and no injuries were reported.

The center condemned the attack, pointing to a “growing level of antisemitism nationally and internationally” and warning that such trends are contributing to a broader climate of hostility.

“We cannot separate this episode from the rise in antisemitism and the climate of intolerance that enables expressions of hatred. This compels us to promote, now more than ever, a democratic coexistence based on respect for pluralism,” the statement read.

“These acts do not intimidate us – they strengthen our conviction to continue building culture, critical thinking, and community,” it continued.

In response to these latest attacks, Jewish institutions across the country have strengthened preventive protocols and reinforced internal security and surveillance measures.

La Plata Mayor Julio Alak denounced the attack as an assault on democratic coexistence and pluralistic values, reiterating that the city will firmly uphold mutual respect and reject all forms of hatred.

The DAIA called on authorities to act swiftly, identify those responsible, and apply the full extent of the law, stressing the need for decisive action to prevent further incidents.

“Impunity cannot be an option. This is an expression of hatred that not only harms the Jewish community but also threatens the fundamental values of coexistence, respect, and democracy,” the organization said.

“Every act of antisemitism that goes unpunished sends a message of tolerance toward hatred. Every firm response from authorities is a clear signal that society is unwilling to back down,” it continued. “To ensure these incidents do not happen again, determination, action, and justice are required.”

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