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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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A Democratic upset in Connecticut — but Israel was not a factor
(JTA) — Luke Bronin scored a decisive victory over longtime Rep. John Larson in Connecticut’s Democratic primary Tuesday, marking another defeat for AIPAC which had backed the 14-term congressman.
The pro-Israel lobby group is increasingly viewed as politically toxic in Democratic primaries across the country, with several progressive candidates notching victories after making opposition to the group a centerpiece of their campaigns.
Israel and the American Israel Public Affairs Committee, however, were not at the forefront of the contest in Connecticut’s 1st Congressional District, reflecting a more nuanced picture regarding Democratic voters’ shifting sentiments toward Israel.
Bronin and Larson, the race’s two candidates with more traditionally pro-Israel positions, together won nearly 90% of the vote, with Bronin receiving 53% while Larson received 34%. The two progressive candidates in the race, Jillian Gilchrest and Ruth Fortune, who both accused Israel of genocide in Gaza, finished a distant third and fourth.
Bronin, 46, who has Jewish ancestry on his father’s side, is the former mayor of Hartford and also served in the Obama Administration as the Deputy Assistant Secretary for Terrorist Financing and Financial Crimes. His campaign largely centered on affordability and emphasizing the need for new leadership in the Democratic party.
“If we are going to fix this mess that we are in, we need to build a Democratic Party that is bringing a whole new energy to this fight,” Bronin told supporters following his victory.
Israel was not entirely absent from the campaign. Larson, who first took office in 1999, split with Bronin during a primary debate last month when Larson defended his recent vote in support of U.S. military aid to Israel.
“Yes, I voted in favor of making sure that Israel, our ally, is going to get the aid from the United States that it needs. But the Palestinians need humanitarian aid, and Donald Trump has got to enforce the law,” Larson said.
Bronin pushed back at Larson, replying, “Trusting Donald Trump to do the right thing is a mind-blowing example of putting hope over all of the evidence in front of us.”
While Larson had long supported Israel during his tenure in Congress, he has been critical of Israel’s prosecution of the war in Gaza and treatment of Palestinians and vocally opposed the United States’ war in Iran.
Bronin, meanwhile, has said he is against taxpayer money going toward funding offensive military aid to Israel, though he supports “defenses for civilians that protect civilian life against rockets and missiles and drones.”
“I think it’s hugely important that Israel exists as a safe, secure homeland for the Jewish people,” Bronin said when asked about his views on Israel on The Lisa Wexler Show in May. He also spoke out against Prime Minister Benjamin Netanyahu, explaining that the premier had “done enormous damage to Israel’s security, Israel’s standing in the world,” adding that “we have an obligation as a country to say what’s happening is not okay.”
Bronin slightly outraised Larson on the campaign trail, receiving roughly $3.1 million largely from individual donations from billionaires and large firms, while Larson received $2.7 million and relied more on donations from PACs, according to the Federal Election Commission.
Larson received roughly $120,000 in AIPAC-linked donations during the campaign cycle, according to the campaign finance database Open Secrets.
Bronin will now face Republican Amy Chai, a physician and mental health advocate, in the general election for the state’s first congressional district. The district, which spans Bristol, Hartford and Torrington, is home to 27,800 Jews, representing 3.9% of the total population, according to the Berman Jewish Data Bank.
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Jack Ukeles, who used data and idealism to shape Jewish communal life, dies at 89
(JTA) — Throughout a storied career of more than five decades that included key roles in teaching courses at elite universities, policy planning for city and state governments and community surveys for Jewish organizations around the world, Jack Ukeles had one consistent goal: to blend research, data and strategic problem-solving with idealism in making the world a better place.
Ukeles, who died July in Jerusalem at the age of 89, was widely and deeply admired as well for his integrity, wisdom and compassion on both a personal and professional level.
He was also one of the most prominent members of a cohort of Jewish social scientists who, from the 1980s through the 2000s, played a central role in setting the agenda for organized Jewish life. Philanthropists and nonprofit leaders sought their data and recommendations on hot-button issues like rising intermarriage, attachment to Israel, population trends and declining engagement with Jewish institutions.
In 1981, Ukeles joined the Jewish non-profit world as senior planning officer of the New York Federation of Jewish Philanthropies (now UJA-Federation of New York). He led the charity’s first scientific study of the New York area’s Jewish population, and major studies on senior services and Jewish poverty.
Five years later, he went out on his own, launching Ukeles Associates, Inc., and for 28 years led consulting projects combining his experience in policy research, planning and management for a range of secular and Jewish non-profits.
Speaking at the funeral in Jerusalem, where Ukeles and his wife, Mierle, lived since making aliyah in 2012, longtime friend and colleague Asher Ostrin predicted that Ukeles’s teaching, in both classrooms and nonprofit board rooms, will have a lasting effect, especially for American Jewry.
“Generations of Jewish communal professionals are his students, and are taught to reflect the method and values he held dear,” said Ostrin, an executive at the American Jewish Joint Distribution Committee.
Those values were shaped growing up in a religious Zionist home, aware of the trauma his parents endured in Eastern Europe before settling in New York. Ukeles’s mother wanted a first-rate Jewish education for her only son, and after visiting a number of yeshivas, moved the family from The Bronx to Brooklyn so he could attend the Yeshiva of Flatbush, where he thrived academically and as student council president and member of the basketball team.
After seeing a newspaper ad announcing the opening of a university in Israel committed to integrating modern scholarship and traditional Jewish learning, he applied and was accepted in 1955 to Bar-Ilan University’s first class.
“My father was proud to be a member of that first class, and as a student leader there, he wanted to help build the school and be a part of its growth” in synthesizing secular and religious studies, his daughter Raquel Ukeles recalled. “But the administration wasn’t interested.” He was 18 at the time.
After a year in Israel, Ukeles attended a yeshiva and Brooklyn College, where he took courses in community planning, research and data. He received his B.A. in political science in 1959, and an M.A. in city planning two years later at the University of Pennsylvania. In 1962, Ukeles spent a year in New Delhi, India, as a Fulbright Fellow and returned to complete his Ph.D. at Penn in 1971.
During his graduate school years, Ukeles turned a summer job in the New York City planning department into a three-year position. He helped produce the first data-driven analysis of New York City’s housing needs, and was part of a team that reshaped the city’s approach to urban renewal.
He then turned to academia, starting a long-term pattern of moving back and forth between university posts — including the New School, where he later became chairman of the first urban policy graduate program in the U.S. — and designing and leading civil service and financial reforms in New York through the mayor’s office under Abe Beame and Ed Koch.
On behalf of Jewish organizations, he conducted a 2006 survey of Atlanta’s Jewish population that confirmed the explosive growth of Jewish communities in the Sun Belt, and co-authored a 2002 community study showing how Russian immigrants and Orthodox Jews were changing the face of New York City Jewry.
Ukeles was he co-authopr of a 2012 study showing that New York City area’s Jewish population was on the rise again, thanks largely to the growth of Orthodox households.(Spencer Platt/Getty Images)
In 2009, he wrote a report on how nonprofits can turn the severe economic downturn into opportunity. Drawing on his experience in city management, he advised nonprofits neither to panic nor deny the reality of squeezed budgets.
“You can forget about strategy if you do not have courage, if you do not have big ideas, or if you do not have vision, and most importantly, if you do not have compassion,” he said in a lecture that year drawing on the report. “In fact, without the ‘right stuff,’ you are in the wrong line of work.”
Family members noted that the common thread in Ukeles’s career in academia, city government and non-profits was to deal with difficult problems by making decisions based on real data, not theoretical ideas, and to bring the stakeholders around the table to make the best — or sometimes least worst — decisions based on need and priority.
Elie Kaunfer, CEO and president of the Hadar Institute, a center of Jewish life and learning, said that when Ukeles conducted the first formal evaluation of the organization in 2011, “he taught me so much about what kind of questions to ask — not just about experience of the program but ultimate impact on people’s lives.”
John Ruskay, former CEO of UJA-Federation, described him as “a loyal friend and dear colleague who I and so many others turned to repeatedly for counsel, for wisdom, for ‘chizuk’” (inner strength).
Sometimes his counsel came with critique. Steve Bayme, a former American Jewish Committee executive and longtime Ukeles friend, noted: “Jack knew how to offer constructive criticism and even occasional rebuke in ways that colleagues, including those in senior communal positions, could hear and absorb.”
Alan Gill, who served as CEO of the JDC, praised Ukeles for “his expertise in challenging and guiding us.” He said Ukeles “yelled at us” once, which was unheard of from consultants who tended to be dispassionate and analytical, he noted. But the outburst had “a positive effect,” Gill added, reminding JDC staff how much “the mission and work mattered” to Ukeles.
That sense of heartfelt criticism also applied to Ukeles’s devotion to, and frustration with, the state of Israel in recent years. He agonized over the growth of extremism in the haredi Orthodox community and Jewish settler violence, and he spoke out in pieces he published in The Times of Israel.
“Jack loved the Jewish people,” said Sally Gottesman, who was hired by Ukeles as a young consultant in 1997. Now an activist-philanthropist focused on gender and justice in the Jewish community, Gottesman said Ukeles was “a mentor and master teacher” and praised his efforts to promote equality for women.
A prime example was his support for and great pride in the accomplishments of his wife, Mierle, who in seeking to blend art with waste management became the official artist-in-residence of the NYC Department of Sanitation, a volunteer position she has held since 1977. Her unique career was the focus of an award-winning 2025 documentary, “Maintenance Artist.”
“Jack was my heart and soul,” she said. “His support, championing my being a free artist and a full person, all through the years, extending as well to his supporting the work of many other women artists of our time, was without a peer, without an end.”
In addition to his wife, Ukuleles is survived by his daughters, Raquel, who is head of collections at the National Library of Israel, and Yael, a product market manager and founder of two non-profit Israeli environmental education programs, and a son, Meir, who works with an Israel-based VC fund investing in startups.
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A pair of Jewish businessmen gave the Lakers their name. Now another Jewish duo is buying the team.
Back when the National Basketball Association was little more than a startup, two Jewish businessmen named Benjamin Berger and Morris Chalfen bought the worst team in the sport, the Detroit Gems, for $15,000. They relocated the franchise to Minneapolis and gave it a name that nodded to state geography.
Eighty years later, the Lakers are a global brand, have won 17 championships and play in Los Angeles — and for the first time since Berger and Chalfen sold, a Jewish duo will take the reins. Joshua Kushner and Bob Iger are buying a majority stake in the team, ESPN reported Wednesday. They’ll be paying a tad more than Berger did in the 1940s —the Lakers were valued at $12.5 billion in the sale.
It’s been a busy summer for Kushner, a real estate scion married to supermodel Karlie Kloss; his brother Jared is a former Trump administration fixture. A company backed by his VC firm, Thrive Capital, tried to buy a stake in the World Cup last month, causing an international backlash that may yet lead to the resignation of FIFA president Gianni Infantino. (That subsidiary, Thrive Eternal, also owns a stake in the San Francisco Giants.)
Kushner and Iger were reportedly angling to buy an expansion NBA franchise in Las Vegas before pivoting to the Lakers.
“As lifelong NBA fans, we are deeply honored for the opportunity to become stewards of the Los Angeles Lakers, one of the most iconic sports franchises in the world,” Kushner and Iger said in a statement to ESPN.
Kushner is now tasked with restoring the Lakers to “Showtime” glory — perhaps with Kloss courtside in the seat once held by an earlier model-turned-owner, Jeanie Buss.
He comes from a family well-acquainted with the tabloids. His brother, Jared, is married to Ivanka Trump and serves as a White House advisor. Their father, Charles Kushner, made billions in real estate development before he was sent to prison for illegal campaign contributions, tax evasion and witness tampering. (Trump later pardoned him, and today Kushner serves as the U.S. ambassador to France.)
The sale comes 14 months after Buss sold the Lakers to Mark Walter, the head of a private equity firm and a co-owner of the Los Angeles Dodgers. Walter, who bought the team at a $10 billion valuation, is currently facing federal and SEC investigations into insurance companies tied to his broader business operations.
It was not publicly known that the Lakers were for sale, and ESPN’s Ramona Shelburne reported Wednesday that Kushner and Iger — who had previously been bidding for an expansion NBA team in Las Vegas — approached Walter with an offer he couldn’t refuse.
The sale would make the Lakers the 14th NBA team out of 30 with Jewish principal owners. The league was founded by Jewish businessmen in the 1940s.
The newcomers will inherit a roster in transition following the departure of LeBron James, who at 41 is a few months older than Kushner, the youngest majority owner in the NBA.
Behind James and Luka Dončić, the Lakers finished with the fourth-best record in the Western Conference last season and were eliminated in the second round of the playoffs. James signed with the Philadelphia 76ers this offseason in free agency.
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