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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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JD Vance praises Tucker Carlson-Mike Huckabee interview as ‘a really good conversation’

(JTA) — Vice President JD Vance has weighed in on the Tucker Carlson-Mike Huckabee interview that has ignited widespread antisemitism allegations as well as a diplomatic row with Arab states, calling it “a really good conversation that’s going to be necessary for the right.”

Vance made the comments to the Washington Post, which published them Friday morning. He said he had not seen the entire interview, which was more than two hours long, but had viewed “clips here and there.”

Vance is a longtime ally of Carlson, a leading far-right figure who has stirred a rift among conservatives by platforming antisemites, at times promoting antisemitic conspiracy theories himself and increasingly campaigning against Israel. (Carlson says he is not antisemitic.)

Vance’s refusal to criticize Carlson or seek to end the rift has increasingly alarmed Jewish conservatives. To the Washington Post, he reiterated what he said before when asked about Carlson and the antisemitism rift — that he believes the Republican Party should be an open marketplace of ideas.

He said he was pleased that the right has stoked “a real exchange of ideas,” even when it includes “the people that I find annoying on our side,” whom he did not specify. That exchange, he said, was also essential for electoral success.

“If you think of the Trump coalition in 2024 — and the way that I put it is, you had Joe Rogan, Mark Levin, Sean Hannity, Tucker Carlson and JD Vance and a coalition of people — but to do that, you have to be willing to tolerate debate and disagreement,” Vance said. “And I just think that it’s a good thing.”

Vance is seen as likely to run for president in 2028.

The post JD Vance praises Tucker Carlson-Mike Huckabee interview as ‘a really good conversation’ appeared first on The Forward.

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Amid Iran tensions, Huckabee tells US embassy staff in Israel they should leave ‘TODAY’ if they wish

(JTA) — Ambassador to Israel Mike Huckabee has told U.S. government employees and their families that they may leave the country and should do so expediently, amid mounting signs of a possible U.S. attack on Iran.

Huckabee emailed embassy staff on Friday morning saying that if they want to leave, they should do so “TODAY,” according to a letter first reported by The New York Times. He noted that commercial flights could become scarce and urged them to accept passage to any country before returning to Washington, D.C.

“There is no need to panic, but for those desiring to leave, it’s important to make plans to depart sooner rather than later,” he wrote.

The letter comes a day after U.S.-Iran talks in Geneva ended without public breakthroughs. Iranian officials, as well as the Omani mediators, said additional conversations were planned for next week; the United States did not comment. Steve Witkoff and Jared Kusher, two Jewish advisors to President Donald Trump who successfully brokered a ceasefire in the Israel-Hamas war last year, are leading the U.S. delegation.

Trump has been threatening to attack Iran for weeks over its nuclear program and has built up U.S. military forces in the Middle East to levels not seen in decades. In recent days, Secretary of State Marco Rubio and Vice President JD Vance have both said military intervention could be needed while saying the president continued to prefer diplomacy.

Vance’s comments were particularly notable because he typically opposes U.S. intervention overseas. He told the Washington Post in comments published Friday morning that there was “no chance” that the United States would get involved in an extended Middle East campaign.

Iran has said it would consider Israel a valid target in the event of a U.S. attack. Last year, Iranian missiles killed more than two dozen people in Israel during a 12-day war initiated by Israeli strikes on Iran’s military program. Now, Israelis have been living in limbo for weeks while waiting to learn whether a new war, expected to be more destructive, will begin.

In the past, when expecting Iranian retaliation, the embassy has warned staff against leaving population centers in Israel. Now, the Department of State has updated its Jerusalem embassy website to reflect “the authorized departure of non-emergency U.S. government personnel and family members of U.S. government personnel to leave Israel,” setting a status that means flights will be paid for by the U.S. government.

While El Al, Israel’s national carrier, does not fly during Shabbat, other airlines typically do run some flights to and from Ben Gurion Airport on Friday nights and Saturdays. Many of those are budget European airlines that have only recently resumed flying to Israel after last year’s Iran war; some airlines, including KLM, have already suspended Israel flights in anticipation of another conflict.

The post Amid Iran tensions, Huckabee tells US embassy staff in Israel they should leave ‘TODAY’ if they wish appeared first on The Forward.

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Pro-Palestinian activist Nerdeen Kiswani sues Betar USA, alleging far-right Zionist group violated her civil rights

(JTA) — The founder of radical pro-Palestinian group Within Our Lifetime has sued the right-wing militant Zionist group Betar USA, alleging that it violated her civil rights by putting out social media “bounties” on her and harassing her with beepers.

Nerdeen Kiswani announced she had filed the lawsuit Wednesday evening, She accused the revamped historic Revisionist Zionist group of violating the Ku Klux Klan Act of 1871, which makes conspiring against an ethnic minority a federal crime.

The lawsuit comes more than a month after Betar USA agreed to cease its operations in New York following a settlement with the state’s attorney general — which Kiswani’s lawsuit notes. The office of AG Letitia James found that Betar USA had engaged in a “campaign of violence, harassment, and intimidation against Arab, Muslim, and Jewish New Yorkers.”

“For years, Betar USA stalked & harassed me even offering $1,800 for someone to hand me a beeper while I was pregnant,” Kiswani wrote on X. “Last month, the NY AG found they engaged in bias-motivated harassment and threats. Still they faced no real consequences. So I’m filing a lawsuit.” She included a crowdfunding link for the suit, which has raised $4,000 in the first 16 hours.

In a statement, Betar USA called Kiswani a “terror supporter” and called the suit “an attack on Zionism itself” that “represents a serious danger to American and diaspora Jewry.” In a follow-up post on X, the group also said it welcomed a deposition against Kiswani and Within Our Lifetime, adding, “Let’s see where the money is coming from and how much you’ve cost NYC.”

Kiswani, an ethnic Palestinian born in Jordan who came to the United States as a refugee at 1 year old, has sparked outrage and accusations of antisemitism in New York and beyond with her pro-Palestinian activism and aggressive attitude toward Zionists.

“We don’t want zionists in Palestine, NYC, our schools, on the train, ANYWHERE,” she tweeted after a man was arrested for allegedly calling to eject Zionists from a subway car.

Within Our Lifetime originated as a branch of Students for Justice in Palestine before splintering off from the national group, accusing SJP of being insufficiently radical. Since then, Kiswani’s group has protested at exhibits honoring the victims of the Oct. 7, 2023, attacks; university Hillels; synagogues holding Israel real-estate events; and gatherings where speakers have praised Hamas and/or where Jews have been assaulted.

Kiswani’s prominence and activities within the pro-Palestinian movement have led to clashes with many ardent pro-Israel activists. In recent weeks a tweet of hers also prompted far-right Jewish pro-Israel Rep. Randy Fine, of Florida, to make disparaging remarks about Muslims that have led to rising Democratic calls for his censure.

But it’s Betar USA, whose members engage in similarly radical activity on the pro-Israel side, that is now facing a direct lawsuit from Kiswani. Her attorneys said Betar and its leadership, including founder Ronn Torossian and former executive director Ross Glick, had “conspired” against her “by subjecting her to a coordinated and sustained campaign of racial violence, and interference with her rights to use public accommodations to intrastate travel.”

Kiswani’s suit hones in on several of Betar USA’s common rhetoric, including the group’s use of beepers as a meme, a reference to Israel’s 2024 pager operation against Hezbollah militants in Lebanon. The suit also says Betar members “privately and publicly agreed to track Ms. Kiswani’s whereabouts, follow her, and threaten, intimidate, and attempt to assault her.”

In tweets directed at Kiswani that are still visible, Betar USA threatened to “denaturalize” the activist (after she criticized New York City Mayor Zohran Mamdani’s condemnation of pro-Hamas chants at protests) and wrote, “We will send many more of you to meet Allah” (in reference to Kiswani calling for “the abolition of Israel by any means necessary”).

Responding to the lawsuit, Betar USA spokesperson Jonathan Levy called the group “a mainstream Zionist movement that has played a central role in Jewish and Israeli history.” Betar traces its lineage back to Ze’ev Jabotinsky, the pre-state Revisionist Zionist revolutionary, and has insisted its actions are in line with mainstream Zionist and Israeli viewpoints.

Levy added, “Calling Betar a terror group akin to the KKK is the same accusations we’ve heard calling the IDF a criminal army and labeling Zionism as genocide.”

Glick did not mention the suit when speaking to a Jewish Telegraphic Agency reporter at a different New York protest Wednesday evening before Kiswani’s lawsuit went public. He disparaged the AG’s settlement as “a lot of lies,” adding, “My position and Betar’s position is, look, we were reborn for self-defensive reasons, we weren’t on the offense.”

The Ku Klux Klan Act of 1871 was also successfully used, by a group of progressive Jewish attorneys, to prosecute the neo-Nazi marchers in Charlottesville, Virginia, in 2017. That case’s legal victory earned broad praise for finding a creative way to hold hateful actions to account without violating First Amendment rights.

Joseph Strauss contributed reporting.

The post Pro-Palestinian activist Nerdeen Kiswani sues Betar USA, alleging far-right Zionist group violated her civil rights appeared first on The Forward.

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