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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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Iran Says Talks With US in Oman Were ‘Good Start,’ Will Continue
Iran’s Foreign Minister Abbas Araghchi is welcomed by an Omani official upon his arrival in Muscat, Oman, in this handout image obtained on Feb. 6, 2026. Photo: Iranian Foreign Ministry/WANA (West Asia News Agency)/Handout via REUTERS
Iran’s top diplomat said on Friday that nuclear talks with the US mediated by Oman were off to a “good start” and set to continue, in remarks that could help allay concern that failure to reach a deal might nudge the Middle East closer to war.
But Foreign Minister Abbas Araqchi said after the talks in the Omani capital Muscat that “any dialogue requires refraining from threats and pressure. [Tehran] only discusses its nuclear issue … We do not discuss any other issue with the US.”
While both sides have indicated readiness to revive diplomacy over Tehran’s long-running nuclear dispute with the West, Washington wanted to expand the talks to cover Iran‘s ballistic missiles, support for armed terrorist groups around the region, and “treatment of their own people,” US Secretary of State Marco Rubio said on Wednesday.
Iranian officials have repeatedly ruled out putting Iran‘s missiles – one of the largest such arsenals in the Middle East – up for discussion, and have said Tehran wants recognition of its right to enrich uranium.
For Washington, carrying out enrichment – a possible pathway to nuclear bombs – inside Iran is a red line. Tehran has long denied any intent to weaponize nuclear fuel production.
“It was a good start to the negotiations. And there is an understanding on continuing the talks. Coordination on how to proceed will be decided in the capitals,” Araqchi told Iranian state TV. “If this process continues, I think we will reach a good framework for an understanding.”
TALKS WERE ‘VERY SERIOUS,’ SAYS OMAN
Mediator Badr al-Busaidi, Oman’s foreign minister, said the talks had been “very serious,” with results to be considered carefully in Tehran and Washington. The goal was to reconvene in due course.
The Islamic Republic’s clerical leadership remains deeply worried that Trump may still carry out his threats to strike Iran after a US naval buildup in seas in the region.
“The lack of trust is a huge challenge during the talks, and it should be overcome,” Araqchi said.
Last June the US struck Iranian nuclear targets, joining in the final stages of a 12-day Israeli bombing campaign. Tehran has since said it has halted uranium enrichment activity.
The naval buildup, which Trump has called a massive “armada,” has followed a bloody government crackdown on nationwide protests in Iran last month, heightening tensions between Washington and Tehran.
Trump warned the Iranian regime not to use violence to crush the nationwide anti-government protests. According to several reports, however, Iran’s security forces killed tens of thousands of demonstrators during what appears to be one of the bloodiest crackdowns in modern history.
Trump has warned that “bad things” will probably happen if a deal cannot be reached, ratcheting up pressure on the Islamic Republic in a standoff that has led to mutual threats of air strikes.
World powers and regional states fear a breakdown in the negotiations would ignite another conflict between the US and Iran that could spill over to the rest of the oil-rich region.
Iran has vowed a harsh response to any strike and has cautioned neighboring Gulf Arab countries that host US bases that they could be in the firing line if they were involved in an attack.
Negotiators in Oman will have to navigate Iran‘s red line on discussing its missile program to reach a deal and avert future military action. Tehran has flatly ruled out talks on its “defense capabilities, including missiles and their range.”
In a show of defiance, Iranian state TV said hours before the talks that “one of the country’s most advanced long-range ballistic missiles, the Khorramshahr-4,” had been deployed at one of the Revolutionary Guards’ vast underground “missile cities.”
However, Tehran is willing to show “flexibility” on uranium enrichment, including by handing over 400 kg of highly enriched uranium – refined closer to bomb-grade – and accepting zero enrichment under a consortium arrangement as a solution, Iranian officials told Reuters last week.
Iran also demands the lifting of US sanctions, reimposed since 2018 when Trump, during his first term in the White House, ditched Iran‘s 2015 nuclear deal with six world powers.
The United States, its European allies, and Israel accuse Tehran of using its nuclear energy program as a veil for efforts to develop the capability to produce atomic bombs. Iran says its nuclear program is for peaceful purposes only.
Israel has likened the danger of Iran‘s missiles to its nuclear program. Prime Minister Benjamin Netanyahu said in January that Iran‘s “attempt to build atomic weapons” and “20,000 ballistic missiles” were like “two lumps of cancer.”
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‘You Will All Burn!’ Haverford Bans Pro-Hamas Hecklers From Campus Over Event Disruption
Masked woman disrupting Middle East talk held at Haverford College on Feb. 1, 2026. Photo: Screenshot.
Haverford College in Pennsylvania has identified and banned from campus at least two members of a pro-Hamas group that disrupted an event featuring Middle East scholar Haviv Rettig Gur on Sunday.
As seen in footage shared on the X social media platform, one of the individuals, who concealed her face with a keffiyeh scarf in the style popularized by the Palestinian Liberation Organization terrorist leader Yasser Arafat, screamed “When Gaza has burned, you will all burn too.”
“Shame! Shame! Shame!” she continued while being escorted out. The individuals continued to scream unintelligible statements outside the lecture hall while banging on its door, prompting Rettig to comment on the incivility of political speech in contemporary higher education.
“It amazes me that this happens most intensely at institutions in America,” he said.
On Wednesday, a public relations official for Haverford College shared with The Algemeiner a statement the college issued to signal that it is not hesitating to respond to actions it described as “clear violations of Haverford’s Policy on Expressive Freedom and Responsibility.” The statement noted that there was also violence during the disruption, noting “at least one physical altercation between attendees.”
“We have gathered sufficient evidence to identify both the individual who used a bullhorn and the audience member who initiated physical contact with them,” the statement said. “We can confirm that neither of the parities is a student, nor are they members of the Haverford College community. As we conclude our investigation, the persons in question will be considered persona non grata, which bans them from our campus indefinitely. If they are found to be on Haverford’s campus, their presence will be considered trespassing, and the college will contact local police.”
On Monday, Haverford president Wendy Raymond condemned the group’s conduct, saying, “Shouting down a speaker whom one does not agree with is never acceptable and stands outside of our shared community values.”
Raymond added, “We strive to be a campus where all experiences and opinions matter … the fact that this event proceeded with nearly three hours of thoughtful and constructive discussion illustrates how valuable these types of learning opportunities are to our educational mission.”
The 2025-2026 academic year has seen a number of similar disturbances on colleges campuses, with anti-Zionist activists continuing to disrupt events and stage demonstrations even after Israel and Hamas agreed to a ceasefire in Gaza.
In October, masked pro-Hamas activists breached an event held at Pomona College in California to commemorate the victims of the Oct. 7, 2023, massacre in which Hamas-led Palestinian terrorists raped, murdered, and abducted women, children, and men during their rampage across southern Israel.
Footage of the act circulated on social media showed the group attempting to raid the room while screaming expletives and pro-Hamas dogma. They ultimately failed due to the prompt response of the Claremont Colleges Jewish chaplain and other attendees who formed a barrier in front of the door to repel them, a defense they mounted on their own as campus security personnel did nothing to stop the disturbance, according to video of the incident and witnesses who spoke to The Claremont Independent.
Following the incident, an anonymous group claimed credit for storming the event in a disturbing open letter.
“Satan dared not look us in the eyes,” the note said, which the group released on social media, while attacking event guests and Oct. 7 survivor Yoni Viloga. “Immediately, zionists [sic] swarmed us, put their hands on us, shoved us, while Viloga retreated like he did on October 7th, 2023.”
Appearing to threaten murder, the group added, “We let that coward know he and his fascists settler ideology are not welcome here nor anywhere. zionism is a death cult that must be dealt with accordingly [sic].”
In January, a sophomore and right-wing social media influencer at the University of Miami verbally attacked a Jewish student group, leading the school to defend free speech while saying that “lines can be crossed” in response.
“Christianity, which says love everyone, meanwhile your Bible says eating someone who is a non-Jew is like eating with an animal. That’s what the Talmud says,” Kaylee Mahony yelled at members of Students Supporting Israel (SSI) who had a table at a campus fair. “That’s what these people follow.”
She continued, “They think that if you are not a Jew you are an animal. That’s the Talmud. That’s the Talmud.”
Mahony could also be heard in video of the incident responding to one of the SSI members, saying, “Because you’re disgusting. It’s disgusting.”
Later, Mahony, whose statements were first reported by The Miami Hurricane student newspaper, took to social media, where she has more than 125,000 followers on TikTok, and posted, “Of course the most evil (((country))) in the world is filled with (((people))) who hate Jesus [sic].”
The “((()))” is used by neo-Nazis as a substitute for calling out Jews by name, which, given the context in which they discuss the Jewish people, could draw the intervention of a content moderator.
Follow Dion J. Pierre @DionJPierre.
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Free Speech Advocacy Group Walks Back Condemnation of Israeli Comedian’s Shows Being Abruptly Canceled
The Israeli national flag flutters as apartments are seen in the background in the Israeli settlement of Maale Adumim in the West Bank, Aug. 16, 2020. Photo: REUTERS/Ronen Zvulun
An organization dedicated to protecting free speech has withdrawn a statement in which it condemned the last-minute cancellations of two performances by Israeli comedian Guy Hochman, after he faced backlash over his support for Israel.
Two venues, in New York and California, canceled Hochman’s scheduled performances last month.
Hochman’s show in New York City was canceled by its venue due to safety concerns after anti-Israel protesters picketed outside of the establishment.
The Fine Arts Theater in Beverly Hills, California, then called off Hochman’s gig after receiving pressure from anti-Israel activists, including threats of violence. The theater said it made the decision also after Hochman declined the venue’s demands to publicly condemn his home country of Israel for the alleged “genocide, rape, starvation, and torture of Palestinian civilians.”
PEN America initially condemned the cancellations of Hochman’s shows in a statement shared on its website on Jan. 29. At the time, Jonathan Friedman, the managing director of US free expression programs at PEN America, said, “It is a profound violation of free expression to demand artists, writers, or comedians agree to ideological litmus tests as a condition to appear on a stage.”
“People have every right to protest his events, but those who wish to hear from Hochman also have a right to do so,” Friedman added. The statement accused Hochman of “dehumanizing social media posts about Palestinians” but also noted that “shutting down cultural events is not the solution.”
On Tuesday, however, PEN America removed the message from its website and replaced it with another statement explaining the move: “On further consideration, PEN America has decided to withdraw this statement. We remain committed to open and respectful dialogue about the divisions that arise in the course of defending free expression.” A spokesperson for PEN America did not immediately respond to The Algemeiner‘s request for comment to further explain the organization’s change of heart.
In 2024, a campaign was launched to boycott PEN America after the group was accused of being apologetic to the alleged “genocide” of Palestinians and “apartheid” in Israel, as well as of “normalizing Zionism.”
Members of PEN America include novelists, journalists, nonfiction writers, editors, poets, essayists, playwrights, publishers, translators, agents, and other writing professionals, according to its website. The organization has a page on its website dedicated to information about “Israel and the Occupied Palestinian Territory,” which begins by claiming that the “Israeli government has cracked down on free expression of writers and public intellectuals in the wake of the Oct. 7, 2023, attack on Israel by Hamas.” The webpage is highly critical of the Jewish state and its military actions in the Gaza Strip during the Israel-Hamas war, which started in response to the deadly rampage orchestrated by the US-designated terror organization across southern Israel on Oct. 7, 2023.
The same webpage highlights a list of “individual cases” of Palestinian activists and writers that Israel has allegedly detained, arrested, or convicted, but there are no specific details shared about their offenses. The list includes Palestinian poet Dareen Tatour, who was convicted of incitement to terrorism for a poem she wrote and comments she made on social media during a wave of Palestinian attacks against Jews.
The list also includes Palestinian activist Ahed Tamimi, but the provided description about Tamimi does not mention that she was convicted on four counts of assaulting an IDF officer and soldier, incitement, and interference with IDF forces in March 2018.
A third writer on the list is Mosab Abu Toha, a Pulitzer Prize-winning poet and essayist who tried to justify Hamas’s abduction of Israelis on Oct. 7, 2023.