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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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A course on the Yiddish proverbs collected through the An-Ski expeditions
אינעם קומעדיקן ווינטער־זמן פֿון די ייִדיש־קלאַסן בײַם „אַרבעטער רינג“ וועט מען הײַיאָר פֿירן דורך „זום“ אַן אייגנאַרטיקן מיני־קורס אויף ייִדיש: וועגן די אידיאָמען און שפּריכווערטער, וואָס דער סאָוועטישער פֿאָלקלאָריסט אַבא לעוו האָט געזאַמלט בעת זײַנע עקספּעדיציעס מיט ש. אַנ־סקין איבער מערבֿ־אוקראַיִנע פֿון 1912 ביז 1914.
דעם קורס וועט לערנען דער ייִדישער שרײַבער און רעדאַקטאָר פֿונעם אָנלײַן־זשורנאַל „ייִדיש בראַנזשע“ — באָריס סאַנדלער, און וועט זײַן געבויט אויפֿן יסוד פֿון יענע וועלטסווערטלעך און סאַנדלערס קאָמענטאַרן וועגן זיי.
דער קלאַס וועט זיך טרעפֿן יעדן דינסטיק פֿון 2:30 ביז 4:00, ניו־יאָרקער צײַט, אָנהייבנדיק פֿונעם 24סטן פֿעברואַר.
דאָס וועט זײַן צום ערשטן מאָל וואָס דער ברייטער עולם וועט האָבן צוטריט צו אַבא לעווס מאַטעריאַלן. דורך בליצפּאָסט האָט סאַנדלער דערציילט ווי אַזוי ער האָט באַקומען די זאַמלונג: נאָך דעם ווי אבא לעוו איז געשטאָרבן אין 1959 האָבן די העפֿטן מיט די ייִדישע אידיאָמען און ווערטלעך זיך געפֿונען אין דער רעדאַקציע פֿון „סאָוועטיש היימלאַנד“, און שפּעטער — אינעם אַרכיוו פֿונעם ייִדישן פּאָעט און פֿאָרשער חיים ביידער. נאָך ביידערס טויט אין 2003 האָט זײַן אַלמנה, יעווע ביידער, איבערגעגעבן די העפֿטן סאַנדלערן אין אַ קאָנווערט, וווּ ס׳איז מיט ביידערס האַנט געווען אָנגעשריבן „פֿאַר באָריס סאַנדלערן“.
ווי אַ צאָל אַנדערע זאַמלער אין אייראָפּע און אַמעריקע, איז אַנ־סקיס און אַבא לעווס אינטערעס צום ייִדישן פֿאָלקלאָר געווען פֿאַרבונדן מיט זייער איבערגעגעבנקייט צום „פֿאָלקיזם‟: זיי האָבן באַטראַכט די ייִדיש־רעדנדיקע פֿאָלקסמענטשן אין די שטעטלעך און דערפֿער ווי אַ שליסל צו שאַפֿן אַ נײַע וועלטלעכע אידענטיטעט, צוגעמאָסטן צו די שטאָטישע רוסישע ייִדן, אַזוי ווי זיי זענען אַליין געווען.
כּדי זיך צו פֿאַרשרײַבן אויפֿן קורס גיט אַ קוועטש דאָ.
דער אַרבעטער רינג וועט אויך פֿירן לענגערע קורסן אויף ייִדיש אינעם ווינטער־זמן. אָט איז דער אויסקלײַב:
• די ייִדישע קולטור־אינפֿראַסטרוקטור פֿונעם אַמעריקאַנער קאָמוניזם
• אונגעריש־ייִדיש צווישן די וועלט־מלחמות
• דער לשון־קודש־קאָמפּאָנענט אין מרדכי שעכטערס לערנבוך „ייִדיש צוויי“
• די דערציילונגען פֿון יצחק באַשעוויס
• דער אָנהייב פֿון מאָדערנעם ייִדישן טעאַטער: אַבֿרהם גאָלדפֿאַדען און די ערשטע אַקטריסעס אויף דער בינע
• שלום אַשעס ראָמאַן „אויף קידוש השם“
• מאַני לייבס סאָנעטן
• ש. אַנ־סקי, דער „בעל־תּשובֿה“ וואָס האָט פּראָוואָצירט אַ רעוואָלוציע אין פֿאָלקלאָר
• דאָס קול פֿונעם ייִדישן שרײַבער — רעקאָרדירונגען פֿון דערציילונגען און לידער פֿאָרגעלייענט פֿון די שרײַבער אַליין
• די קולטור־ירושה פֿון די ייִדישע שרײַבער אין אוקראַיִנע (1950ער ביז די 1980ער)
נאָך מער פּרטים אָדער זיך צו פֿאַרשרײַבן אויף איינעם אָדער מער פֿון די קורסן, גיט אַ קוועטש דאָ.
The post A course on the Yiddish proverbs collected through the An-Ski expeditions appeared first on The Forward.
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White House Religious Liberty Panel Member Decries ‘Zionist Supremacy,’ Vows Not to Resign Despite Backlash
Carrie Prejean Boller speaks during a White House Religious Liberty Commission hearing on Feb. 9, 2026. Photo: Screenshot
Carrie Prejean Boller, a member of the White House Religious Liberty Commission, has vowed to combat so-called “Zionist supremacy” in the United States, sparking fresh outrage amid ongoing furor over her recent comments condemning the Jewish state and defending antisemitic podcaster Candace Owens.
“I will continue to stand against Zionist supremacy in America. I’m a proud Catholic. I, in no way will be forced to embrace Zionism as a fulfillment of biblical prophesy [sic]. I am a free American. Not a slave to a foreign nation,” Prejean Boller posted on the social media platform X on Tuesday.
Thank you all for the love and support I’ve received. I will continue to stand against Zionist supremacy in America. I’m a proud Catholic. I, in no way will be forced to embrace Zionism as a fulfillment of biblical prophesy. I am a free American. Not a slave to a foreign nation.
— Carrie Prejean Boller (@CarriePrejean1) February 10, 2026
The comments came on the heels of furor over Prejean Boller’s conduct during Monday’s hearing of the 13-member White House Religious Liberty Commission, which descended into a tense back-and-forth after she asked pointed questions about Israel’s policies and whether rejection of the Jewish state’s legitimacy should itself be labeled antisemitic.
The council was established by US President Donald Trump to examine religious freedom issues and was intended to focus on concrete challenges facing Jewish communities, including bias and harassment. Prejean Boller’s conduct, which included an impassioned defense of antisemitic personalities Candace Owens and Tucker Carlson, and her peddling of unsubstantiated claims that Israel has intentionally starved and murdered Palestinian civilians, raised alarm bells among pro-Israel advocates.
“I would really appreciate it if you would stop calling Candace Owens an antisemite,” Prejean Boller said to Seth Dillon, CEO of the political satire site Babylon Bee, during the hearing. “She’s not an antisemite. She just doesn’t support Zionism, and that really has to stop. I don’t know why you keep bringing her up, and Tucker.”
Owens, one of the country’s most popular podcasters, has spent the past two years spreading antisemitic conspiracy theories on her platform. She has called Jews “pedophilic,” argued that they oppress and murder Christians, and asserted that they are responsible for the trans-Atlantic slave trade.
Prejean Boller, a conservative activist and former Miss California, repeatedly pressed witnesses about Israel’s actions in Gaza and religious leaders on their views of Zionism, drawing audible boos from the audience and confusion from her colleagues. At one point she asked a Jewish activist if he would condemn Israel’s military response to Hamas’s Oct. 7, 2023, massacre across southern Israel, despite the hearing’s official focus on domestic antisemitism. Prejean Boller also donned a Palestinian flag pin on the lapel of her suit, telegraphing her support for the anti-Israel ideological cause.
“Since we’ve mentioned Israel a total of 17 times, are you willing to condemn what Israel has done in Gaza?” Boller asked Jewish activist Shabbos Kestenbaum.
During the hearing, she also accused Rabbi Ari Berman, president of Yeshiva University, of Islamophobia after he declared that anti-Zionism — the belief that Israel does not have a right to exist —is an antisemitic ideology. Berman argued that attempts to delegitimize the existence of the world’s sole Jewish state, while showing ambivalence toward the existence of dozens of Muslim states, indicates anti-Jewish sentiment.
Panel members repeatedly stressed that American universities and communities must do more to confront bias and ensure Jewish students can live without fear of harassment.
Members of the commission expressed visible surprise at Prejean Boller’s line of questioning and repeated downplaying of antisemitism. Kestenbaum took aim at Prejean Boller after she asserted that the young activist had conflated antisemitism with harboring anti-Israel sentiment.
“She decided that this should be a debate on Israel’s conduct in Gaza, which I’m not entirely sure how that affects American students being discriminated against,” Kestenbaum said, “given that there are hundreds of millions of Catholics, including some who are on this commission, speaking at this commission today, who would vehemently disagree with such a grandiose assertion.”
Spectators suggested that the hearing also spotlighted deeper fissures within the conservative movement. Prejean Boller’s impassioned defense of Owens and Carlson, who have spent the past few years peddling anti-Israel conspiracies, suggest that their narratives may be penetrating deeper into the Republican base. The hearing also raised questions about the White House’s vetting process for the commission.
A recent analysis by the Jewish People Policy Institute found that both Carlson and Owens dramatically increased the volume and intensity of negative content about Israel in 2025, with Owens also incorporating explicit antisemitic language and conspiracy narratives, including accusations of disproportionate violence and undue influence over US policy into her commentary.
Carlson, the former Fox News host whose podcast remains influential among conservative audiences, has in recent years amplified fringe voices, including figures such as white nationalist streamer Nick Fuentes. Carlson’s interviews have featured conspiratorial depictions of “Christian Zionists” as afflicted by a “brain virus,” and his platforming of extremists and Holocaust minimizers has drawn widespread condemnation from lawmakers and civil rights advocates across the ideological spectrum.
Some prominent conservative voices have demanded for Prejean Boller to resign or be removed from the commission, arguing that her views are counter to the mission of the initiative. Prejean Boller has repeatedly refused to relinquish her position, arguing that her Catholic faith does not allow for support of Israel and doing so would signal a surrender to “Zionist supremacy.”
However, conservative reporter and podcaster Laura Loomer stated that sources at the US State Department are pressing for the Trump administration to remove Prejean Boller from the panel.
“Carrie’s behavior is unacceptable and is not representative of the Trump administration’s values. We have asked the White House to take action,” Loomer posted on social media, attributing the quote to an unnamed State Department official.
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13-Year-Old Boy Brutally Assaulted in Paris in Second Antisemitic Attack in Less Than a Week
Tens of thousands of French people march in Paris to protest against antisemitism. Photo: Screenshot
In a shocking second antisemitic attack in less than a week, a 13-year-old boy in Paris was brutally beaten Monday by a knife-wielding assailant, prompting authorities to open a criminal investigation and step up security amid a rising tide of antisemitism.
On his way to a synagogue in Paris’s 18th arrondissement, the schoolboy was physically attacked by a group of five assailants who beat him, pressed a knife to his throat, called him a “dirty Jew,” and stole his belongings, the French news outlet Le Parisien reported.
According to the Paris prosecutor’s office, the victim was walking to a synagogue, clutching his kippah in his hand rather than wearing it for fear of being recognized, when five attackers confronted him; stole his AirPods, sneakers, and coat; and forced him to empty his pockets.
The boy also told authorities that he was shoved, punched in the face, and threatened with a knife to his throat before his attackers stole his belongings, shouting antisemitic remarks throughout the assault.
Local police have arrested and taken an 18-year-old suspect into custody after he was recognized during the assault by someone on a video call with the victim. The four other attackers remain at large as of this writing.
The prosecutor’s office has opened an investigation into armed robbery and armed violence, committed as a group and aggravated by discrimination, as authorities continue to work to identify and apprehend the remaining suspects.
This latest antisemitic attack marks the second such incident in less than a week, underscoring a growing climate of hostility as Jews and Israelis face a surge of targeted assaults.
Over the weekend, three Jewish men wearing kippahs were physically threatened with a knife and forced to flee after leaving their Shabbat services near the Trocadéro in southwest Paris’s 16th arrondissement, European Jewish Press reported.
As the victims were leaving a nearby synagogue and walking through the neighborhood, they noticed a man staring at them. The assailant then approached the group and repeatedly asked, “Are you Jews? Are you Israelis?”
When one of them replied “yes,” the man pulled a knife from his pocket and began threatening the group. The victims immediately ran and found police officers nearby. None of the victims were injured.
Like most countries across Europe and the broader Western world, France has seen a rise in antisemitic incidents over the last two years, in the wake of the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
According to the French Interior Ministry, the first six months of 2025 saw more than 640 antisemitic incidents, a 27.5 percent decline from the same period in 2024, but a 112.5 percent increase compared to the first half of 2023, before the Oct. 7 atrocities.
Last week, a Jewish primary school in eastern Paris was vandalized, with windows smashed and security equipment damaged, prompting a criminal investigation and renewed outrage among local Jewish leaders as targeted antisemitic attacks continued to escalate.