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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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‘Text me when you get home’ — on confronting hatred as both a woman and a Jew
There’s a universal language that every young woman I know speaks. It’s an expectation, a pact even, to “text me when you get home.” A baseline understanding that the walk home isn’t always safe for us.
A different dialect of that same universal language exists across our Jewish community. It shows up when my mom texts me to ask, “does your shul have good enough security?” before I walk into Shabbat or high holiday services.
Being a Jewish woman in America means having to constantly do the calculus of how to be safe as a woman and as a Jew. And I know that my experience is not unique. With antisemitism rampant and other forms of hate still deeply embedded in our society, so many people across America with overlapping and intersecting identities — people of color, trans people and others — are also doing this calculus every single day.
The question I keep asking myself is why? Not why we have to do this constant mental exercise, but why it isn’t getting any easier. The FBI reported a decline in hate crimes in 2025, but those numbers don’t tell the whole story. Hate crimes often go unreported, whether because people don’t feel safe reporting to law enforcement or because agencies lack the training, resources and requirements to properly identify and document them. And beyond what gets counted, hateful rhetoric, threats, and violence continue to shape how we move through the world. Hate permeates our daily lives in ways that statistics alone cannot capture.
Turn on the news or scroll through Instagram on any given day and you can see why we don’t feel safer, despite what the data is telling us. You can see that the static noise of hate and violence continues to intrude on every aspect of our lives.
Our lives — across identities and generations — have been marked by hate, by story after story of deadly attacks at synagogues, mosques, churches, schools and supermarkets.
Twelve years ago, a man fueled by his hatred of women killed six and injured 14 people in Isla Vista, California — my hometown. When I think about that time in my life, I don’t think about graduating high school or my senior prom. I think about the flashes of images of my town, of the victims, on the news. And eight years ago today, a gunman took the lives of 11 congregants and wounded six others in an antisemitic attack at the Tree of Life Synagogue in Pittsburgh. It was the day before my 22nd birthday, another moment in my life now marked by grief.
Hate and hate-motivated violence are not new phenomena in our country. But in the last decade, we have seen a normalization of hate that is both new and devastatingly familiar.
We have seen this normalization fester online, where once fringe antisemitic, misogynistic, racist, and anti-immigrant beliefs — like those held by the Isla Vista and Tree of Life attackers — are now part of mainstream conversations. We have seen this normalization take hold in our halls of power, where our president, members of Congress, and leaders around the country not only legitimize but promote hateful rhetoric and conspiracy theories.
And, we have seen this normalization thrive in policy, where hate and violence are being systematized in executive orders and legislation by the same leaders who made it normal. Policy can and should be used as a shield to keep people safe. Instead, it’s being weaponized before our very eyes to foster an environment where hate can thrive.
It’s no wonder we don’t feel safe when our president and many of our lawmakers are using their power to target women, LGBTQ+ people, immigrants, and so many others. It’s no wonder we question whether our institutions will protect us when the Department of Justice cancels grants supporting victims and programs designed to prevent hate and violence. And it’s no wonder survivors of gender-based and sexual violence feel abandoned when this administration is deliberately refusing to use Title IX to protect them but is instead weakening this law to harm trans people.
For people my age, who grew up with social media and the 24-hour news cycle that brought reports of hate directly into our homes, it can be hard to fathom what to do at this moment. But there are people all around us who not only know what to do, but have done it before.
I spend my days at National Council of Jewish Women (NCJW) working to dismantle antisemitism and the hate plaguing all of our communities. I am fortunate to work with and learn from people who have dedicated their lives to building a world where every person can feel safe and thrive. We are fighting every day to ensure that our institutions and our laws protect people from hate, violence, and discrimination. NCJW has been doing this work for over a century, and we know that progress is not inevitable.
The Matthew Shepard and James Byrd Jr. Hate Crime Prevention Act, signed into law 17 years ago this week, was the result of nearly 20 years of advocacy — a reminder that disrupting hate and building a safer world requires perseverance. It takes leaders willing to fight against hatred, not embrace it. And, it takes partners, allies, friends, and neighbors to move the work forward together.
That is why we have no choice but to keep showing up, to keep fighting, even when the hate and violence all around us feels like it has taken over our lives. We have to keep working, every day, to build that world we seek, where our rights, our safety, and our dignity are not up for debate.
And hopefully, one day, we will all live in a world where we don’t have to say “text me when you get home.”
The post ‘Text me when you get home’ — on confronting hatred as both a woman and a Jew appeared first on The Forward.
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Seeking funding for a Yiddish project for kids or young people?
די פֿישמאַן-פֿונדאַציע פֿאַר ייִדישער קולטור האָט געמאָלדן אַז זי נעמט שוין אָן סובווענץ-אַפּליקאַציעס אויף נײַע פּראָיעקטן פֿאַרן יאָר 2027. די פּראָיעקטן דאַרפֿן האָבן פֿאַר אַ ציל דאָס שטאַרקן ייִדיש ווי אַ לעבעדיקע שפּראַך, באַזונדערס בײַ קינדער און דער יוגנט.
דער טערמין פֿאַר אַפּליקאַציעס פֿאַרן יאָר 2027 איז דער 7טער נאָוועמבער 2026. די אויסגעטיילטע סובווענצן וועט מען מעלדן אין דעצעמבער.
אַלע אַפּליקאַציעס מוזן זײַן אָנגעשריבן אויף ייִדיש און דאַרפֿן נאָכפֿאָלגן די אַפּליקיר-אָנווײַזונגען וואָס איר קענט געפֿינען דאָ.
אַפּליקאַציעס וועלן ווערן באַטראַכט אויף קאָנקורס-יסודות. מען בעט מען זאָל אַרײַנשיקן אַן אַפּליקאַציע (מיט אַלע נייטיקע בײַלייגונגען) דורך בליצפּאָסט צו:
applications@fishmanfoundation.org
The post Seeking funding for a Yiddish project for kids or young people? appeared first on The Forward.
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Democrats leader Golan approached by man with knife on Israeli election day
(JTA) — JERUSALEM — Israel Police arrested a man carrying a large knife after he approached Yair Golan, head of the Democrats party, as Golan was campaigning in Tel Aviv on Election Day.
“Contrary to reports, no stabbing attempt occurred,” the police spokesman said in a statement.
The police said officers at the scene noticed a “suspicious object” protruding from beneath the coat of a man standing nearby. When they stopped him for inspection, they found a knife in his possession.
In a statement, Golan’s party said the man approached Golan “in a threatening manner” and that “when Golan’s security guards blocked him, a large knife slipped from beneath his clothing and fell to the ground.”
Police described the suspect as a Jerusalem resident in his 20s. He was arrested and taken to a local police station for questioning. They said the investigation “is ongoing.”
Following the incident, Golan said “incitement and violence will not deter us.” In a statement to the press he blamed the attack on Prime Minister Benjamin Netanyahu’s negative campaigning and highlighted the ties between one of his spokespeople and Qatar.
“This is the direct result of the poison machine operated by Netanyahu and his Qatari agents. I call on everyone who cares about security and democracy to go out and vote now, so that we can ensure the country we love so dearly becomes a free and safe place once again,” Golan said.
This article originally appeared on JTA.org.
The post Democrats leader Golan approached by man with knife on Israeli election day appeared first on The Forward.
