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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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‘For As Long As Necessary’: Katz Says Campaign Against Iran Entering Decisive Stage
Israel’s Defense Minister Israel Katz and his Greek counterpart Nikos Dendias make statements to the press, at the Ministry of Defense in Athens Greece, Jan. 20, 2026. Photo: REUTERS/Louisa Gouliamaki
i24 News – Israel Katz said Saturday that the confrontation with Iran had entered a “decisive phase,” as US and Israeli strikes on Iranian targets continued and regional tensions escalated.
Speaking after a security assessment at Israel’s defense headquarters alongside Eyal Zamir, chief of staff of the Israel Defense Forces, and senior military and intelligence officials, the Israeli defense minister said the campaign against the Islamic Republic would continue “for as long as necessary.”
“The global and regional struggle against Iran, led by American President Donald Trump and Israeli Prime Minister Benjamin Netanyahu, is intensifying and entering its decisive phase,” Katz said.
Katz also praised US strikes on Kharg Island, a key Iranian oil hub, describing them as a “severe blow” to the Iranian regime. He said the attacks were an appropriate response to Iranian threats against the strategic Strait of Hormuz and to what he called Tehran’s attempts to pressure the international community.
At the same time, Katz said the Israeli Air Force was continuing a “powerful wave of attacks” against targets in Tehran and other parts of Iran.
He accused the Iranian leadership of using “regional and global terrorism” and strategic blackmail in an effort to deter Israel and the United States from pursuing their military campaign, warning that such actions would be met with a “strong and uncompromising response.”
Katz added that the outcome of the conflict would ultimately depend on the Iranian population. “Only the Iranian people can put an end to this situation through a determined struggle, until the overthrow of the terrorist regime and the salvation of Iran,” he said.
According to the minister, the confrontation now pits the Iranian regime’s determination to survive against growing military pressure from Israel and its allies.
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Trump Rejects Efforts to Launch Iran Ceasefire Talks, Sources Say
US President Donald Trump speaks on the day he honors reigning Major League Soccer (MLS) champion Inter Miami CF players and team officials with an event in the East Room of the White House in Washington, DC, US, March 5, 2026. Photo: REUTERS/Jonathan Ernst
President Donald Trump’s administration has rebuffed efforts by Middle Eastern allies to start diplomatic negotiations aimed at ending the Iran war that started two weeks ago with a massive US-Israeli air assault, according to three sources familiar with the efforts.
Iran, for its part, has rejected the possibility of any ceasefire until US and Israeli strikes end, two senior Iranian sources told Reuters, adding that several countries had been trying to mediate an end to the conflict.
The lack of interest from Washington and Tehran suggests both sides are digging in for an extended conflict, even as the widening war inflicts civilian casualties and Iran’s closure of the Strait of Hormuz sends oil prices soaring.
US strikes on Iran’s Kharg Island, the country’s main oil export hub, on Friday night underscored Trump’s determination to press ahead with his military assault. Iran’s new Supreme Leader Mojtaba Khamenei has vowed to keep the Strait of Hormuz shut and threatened to step up attacks on neighboring countries.
The war has killed more than 2,000 people, mostly in Iran, and created the biggest-ever oil supply disruption as maritime traffic has halted in the Strait of Hormuz, through which a fifth of the world’s oil is transported.
ATTEMPTS TO OPEN LINES OF COMMUNICATION
Oman, which mediated talks before the war, has tried multiple times to open a line of communication, but the White House has made clear it is not interested, according to two sources, who like others in this story were granted anonymity in order to speak freely about diplomatic matters.
A senior White House official confirmed Trump has rebuffed those efforts to start talks and is focused on pressing ahead with the war to further weaken Tehran’s military capabilities.
“He’s not interested in that right now, and we’re going to continue with the mission unabated. Maybe there’s a day, but not right now,” the official said.
During the first week of the war, Trump wrote on his Truth Social platform that Iran’s leadership and military were so battered by US-Israeli strikes that they wanted to talk, but that it was “Too Late!” He has a history of shifting foreign policy stances without warning, making it hard to rule out that he might test the waters for restarting diplomacy.
“President Trump said new potential leadership in Iran has indicated they want to talk and eventually will talk. For now, Operation Epic Fury continues unabated,” a second senior White House official said when asked to comment on this story.
The Iranian sources said Tehran has rejected efforts by several countries to negotiate a ceasefire until the US and Israel end their airstrikes and meet Iran’s demands, which include a permanent end to US and Israeli attacks and compensation as part of a ceasefire.
Egypt, which was involved in mediation before the war, has also tried to reopen communications, according to three security and diplomatic sources. While the efforts do not appear to have made progress, they have secured some military restraint from neighboring countries hit by Iran, according to one of the sources.
Egypt’s foreign ministry, the government of Oman and the Iranian government did not respond to requests for comment.
POSITIONS HARDEN ON ALL SIDES
The war’s impact on global oil markets has significantly increased the cost for the United States.
Some US officials and advisers to Trump urge a quick end to the war, warning that surging gasoline prices could exact a high political price from the president’s Republican Party, with US midterm elections looming.
Others are pressing Trump to maintain the offensive against the Islamic Republic to destroy its missile program and prevent it from obtaining a nuclear weapon, according to Reuters reporting.
Trump’s rejection of diplomatic efforts could indicate that, for now, the administration has no plans for a quick end to the war.
Indeed, both the United States and Iran appear even less willing to engage than during the opening days of the war, when senior US officials reached out to Oman to discuss de-escalating, according to several sources.
One source said Iran’s top security official, Ali Larijani, and Foreign Minister Abbas Araghchi had also sought to use Oman as a conduit for ceasefire discussions that would have involved U.S. Vice President JD Vance.
But those discussions have not materialized.
Instead, Iran’s position has hardened, said a third senior Iranian source.
“Whatever was communicated previously through the diplomatic channels is irrelevant now,” said the source.
“The Guards strongly believe that if they lose control over the Strait of Hormuz, Iran will lose the war,” the source added, referring to the Islamic Revolutionary Guard Corps, an elite paramilitary force that controls large parts of the economy.
“Therefore, the Guards will not accept any ceasefire, ceasefire talks, or diplomatic efforts, and Iran’s political leaders will not engage in such talks despite attempts by several countries.”
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US Strikes More Than 90 Iranian Military Targets on Kharg Island, CENTCOM Says
A satellite image shows an oil terminal at Kharg Island, Iran, February 25, 2026. Photo: 2026 Planet Labs PBC/Handout via REUTERS
United States forces executed a large-scale precision strike on Kharg Island in Iran on Friday night, the US Central Command said on Saturday.
“US forces successfully struck more than 90 Iranian military targets on Kharg Island, while preserving the oil infrastructure,” CENTCOM said.
The strike destroyed naval mine storage facilities, missile storage bunkers, and multiple other military sites, the US military said in a post on X.
President Donald Trump threatened on Friday to strike the oil infrastructure of Iran’s Kharg Island hub, unless Tehran stopped attacking vessels in the Strait of Hormuz.