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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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Ro Khanna and Thomas Massie team up to strip US-Israel military tech cooperation from defense bill
(JTA) — In one of the latest examples of political extremes converging over Israel, Reps. Ro Khanna and Thomas Massie joined forces this week to challenge a provision expanding U.S.-Israel defense cooperation.
Khanna, a progressive California Democrat, and Massie, a Kentucky Republican, both said over the weekend that they would seek to remove a provision from the House’s annual defense bill that would expand U.S.-Israeli defense technology cooperation.
“If the provision in the NDAA to integrate/synchronize the U.S. and Israeli militaries (section 224) makes it out of committee, I’ll offer an amendment to strip it from the bill on the floor,” Massie, who lost his bid for reelection last month against a President Donald Trump-endorsed primary opponent, wrote in a post on X. “We are a sovereign country…”
The section of the National Defense Authorization Act for 2027 that Khanna and Massie have taken aim at would require the Secretary of Defense to designate an “executive agent responsible for synchronizing cooperative efforts between the United States and Israel, including bilateral defense technology research, development, testing, evaluation, integration, and industrial cooperation.”
The cross-ideological alliance marked the latest instance of the progressive Democrat and libertarian Republican finding common cause on Israel-related foreign policy, after the pair previously teamed up to oppose U.S. involvement in Israel’s war in Iran last year.
The pledge by Massie, a leading anti-Israel Republican in Congress, was quickly joined by Khanna, who has been staunchly critical of Israel’s conduct during the war in Gaza and recently opposed American funding for Israel’s Iron Dome defense system.
“And I will be offering an amendment in the committee itself to strip section 224 out, @RepThomasMassie,” Khanna wrote in a post on X. “Trump can’t kill the Massie/Khanna partnership no matter how much he posts on Truth Social.”
Khanna lamented Massie’s primary loss on NBC’s “Meet the Press” last month, telling the outlet that he had been “taken out” because of the pair’s collaboration on opposing the war in Iran and the Epstein Transparency Act.
“Thomas is a real friend. He’s a good man, and he was taken out for two reasons,” Khanna said. “One, he had the courage to go after some very powerful people in working with me to get the Epstein Transparency Act passed. As he mentioned, that’s historic bipartisan legislation that finally got justice for the survivors, and he had people spend millions of dollars, and had the President of the United States after him. And second, he worked with me to stop this war in Iran.”
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Hasan Piker blames Israel after UK bars him from entry, citing ‘potential risk’
(JTA) — Leading British Jewish groups are applauding the UK government’s decision to bar the influential anti-Israel streamer Hasan Piker as well as his controversial uncle Cenk Uygur from entering the country.
The British interior ministry revoked Piker’s and Uygur’s travel authorizations on Monday, saying in a statement that “their presence in the UK may not be conducive to the public good.”
The ministry’s statement did not specify its concerns about the men but added that decisions to refuse or cancel ETAs are based “solely on an assessment of the potential risk an individual may pose to UK society.”
The revocations follow advocacy by Jewish groups against Piker’s planned appearance this week at the South by Southwest London festival, where he was due to speak on “How the American Left Learned to Speak the Internet.”
A number of Jewish groups urged the government to block Piker’s entry. The Community Security Trust said that he “has a record of promoting rhetoric that includes antisemitic themes, denial of well documented atrocities and apparent support for extremist groups.” Last week, a lawmaker from the Labour party, David Taylor, publicly called on the Home Office to revoke Piker’s visa.
Piker has also drawn sharp opposition from U.S. Jewish groups in recent months, as he has played an increasingly prominent role in advocating for progressive Democrats. His critics note that he has said he prefers Hamas to Israel and said “I don’t have an issue” with Hezbollah. Hamas and Hezbollah are considered terrorist groups under UK law.
In social media posts, both Piker and Uygur blamed Israel for their being barred from entering the UK.
“I’ve been banned for criticizing Israel. Are we free anymore?” Uygur tweeted, in one of multiple posts making the claim. “This is oppression of Western citizens by our own governments on behalf of a different country!” He later said it was “an honor to have made Israel’s enemies list.”
Piker responded to his uncle’s post on X, saying, “The uk has revoked my visa as well. all at the behest of israel. the west is betraying ‘liberal values’ for a genocidal fascist foreign government. soon we will all become Israel.”
The revocations come as the British government is under extreme pressure to demonstrate strong opposition to antisemitism, following a string of attacks that have unsettled British Jews. In recent weeks, the government has allocated new resources for security in Jewish communities and canceled the travel authorization for Ye, the American musician with a history of antisemitic remarks and a recent single called “Heil Hitler.”
Multiple Jewish leaders said they were pleased that the government had moved to block Piker’s entry.
“The government is right to ban those who seek to spread hatred from entering the UK,” the Jewish Leadership Council’s director of public affairs, Russell Langer, said in a statement. He added, “When Jews are being stabbed on the streets of London and Manchester, we should not be importing more antisemitism into this country.”
The acting president of the Board of Deputies of British Jews, Adrian Cohen, applauded the decision in a statement. “Where there is clear risk of individuals breaking UK laws and stoking community tensions, by showing support for banned terrorist groups or inciting hatred, and where event organisers have failed to show responsibility, it is right that government step in,” he said.
And the CST said that while criticizing Israel can be legitimate, Piker had exceeded the bounds of acceptable discourse.
“There must be consequences when public figures cross into hate speech,” the group said in a statement. “Piker has a record that goes far beyond robust or controversial political speech, including rhetoric that contains antisemitic themes, the denial of well-documented atrocities and language that risks fuelling antisemitism.”
The interior ministry said anyone who has an ETA revoked can apply for a visa, which would afford them a reconsideration.
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New York’s Israel Day parade was a shanda — but not because of Mamdani
Mayor Zohran Mamdani made the right decision in skipping the city’s annual Israel Day Parade — because of the specific Israeli officials the parade honored.
American Jews have the right to celebrate Israel’s existence, if they find it to be a meaningful part of their personal Jewish identities. But Mamdani’s specific decision not to march in this specific parade, this year, alongside far-right ministers Bezalel Smotrich, Amichai Chikli and Ofir Sofer, is defensible. Those painting that choice as a sign of antisemitism have a lot of explaining to do about whose company they choose to keep.
Chikli, Israel’s minister of diaspora affairs and combating antisemitism — the man who is supposed to be the voice of diaspora Jews in Israel — has used his platform to spread hatred. He has described LGBTQ+ Pride events as “disgraceful vulgarity”; courted far-right European extremists like Tommy Robinson while parroting their Islamophobic statements; and called antisemitic dog whistles deployed against George Soros by the like of Elon Musk “anything but antisemitism” — while serving as the minister tasked with combating antisemitism.
His behavior has been so outrageous that in 2025, hostage families and Jewish community leaders across Europe signed letters calling him an “inappropriate representative,” citing his statements calling for the expulsion of people from Gaza and southern Lebanon, which they said amounted to support for ethnic cleansing.
Smotrich’s record of inflammatory statements is even more extensive. In 2023, he called for the Palestinian village of Hawara in the West Bank to be destroyed by the state, saying “I think the village of Hawara needs to be wiped out” shortly after a shocking settler attack there that some compared to a pogrom. The United States State Department decried those remarks as “repugnant” and “disgusting.”
Smotrich has since called for Gaza to be emptied of its Palestinian population, and has spearheaded the radical expansion of Israeli settlements in the West Bank, advocating for annexation with the explicit intent of preventing the establishment of a Palestinian state. He himself says the International Criminal Court’s Office of the Prosecutor has reportedly filed a secret arrest warrant application against him for alleged war crimes and crimes against humanity in the occupied West Bank.
At the Sunday parade, Smotrich approvingly told attendees that the event reminded him of the Jerusalem Flag March, an ultra-nationalist procession where participants this year chanted “Death to Arabs” and attacked Palestinian residents.
And Ofir Sofer, Israel’s immigration and absorption minister, has called for changes to Israel’s Law of Return, complaining that many new immigrants to Israel are not Jewish under Orthodox halachic standards. His vision of Israel includes no room for Reform Jews, secular Jews or partial-heritage Jews.
These are the people Mamdani was supposed to join in celebration?
Mamdani did not refuse to celebrate Jewish life. He refused to endorse these deeply problematic Israeli officials by appearing alongside them. That is not a slap in the face to Jewish New Yorkers. It is, if anything, a gesture of respect toward the many Jewish New Yorkers, including me, who find Chikli, Smotrich and Sofer an embarrassment and a threat to the diverse, pluralistic, egalitarian Judaism we actually practice.
Mamdani has stated clearly that he believes Israel has a right to exist, although not as a hierarchy that favors Jewish citizens over others. He has backed his administration’s Office to Combat Antisemitism and proposed expanded funding for hate crime prevention. He guaranteed a robust police presence at the Israel parade, spending weeks planning to ensure it proceeded, in his words, “seamlessly and peacefully” — as it did.
None of this fits the profile of an antisemite.
And those who criticized Mamdani’s refusal to participate are failing to grapple with an important truth: Mamdani’s politics, whatever one thinks of them, are not alien to American Jewish life. They are, instead, increasingly central to it.
A poll by the Jewish Voter Resource Center, released just this week, found that almost half of American Jews under 35 support a binational state: a single country in Israel, the West Bank and Gaza, governed by all its inhabitants together. Among non-Orthodox Jews under 35, that figure reaches 51%.
This is not a fringe position on the left flank of the community. It is a near-majority position among the next generation of American Jews. Add to that the fact that a 2025 survey by Jewish Federations of North America — not a left-wing organization — found that only 37% of American Jews overall identify as Zionist at all, while among young Jews aged 18 to 34, the share identifying as anti-Zionist or non-Zionist has reached nearly a third.
As J Street president Jeremy Ben-Ami put it: “The growing disaffection of younger Jewish Americans from Israel is a direct consequence of the policies of Bibi Netanyahu and the way the American Jewish establishment has demanded an ‘Israel right or wrong’ loyalty.”
When we ask whether Mamdani’s absence alienates Jewish New Yorkers, we need to ask: which Jewish New Yorkers? Did Mamdani marginalize himself from American Jewish life — or did the parade organizers, by welcoming these ministers, marginalize themselves from a large and growing portion of it?
The questions at the heart of this controversy — what Zionism means, whether anti-Zionism is compatible with Jewish solidarity, and how to honor Israeli independence while acknowledging Palestinian catastrophe — are genuine, difficult and deeply contested. I have colleagues I respect on multiple sides. I have family members who would disagree with everything I have written here.
But a parade is the worst possible venue for this conversation. A parade is not a symposium. It is not a town hall. It is a celebration, a statement of solidarity, an embodiment of a particular political position. Attending it is an endorsement of that position. And when the parade features ministers who demean Reform Jews, court European neo-fascists, advocate for the further reduction of Palestinian rights and liberties, and favor restricting who counts as Jewish enough to return to a Jewish state, the act of marching becomes an endorsement of those things, too.
We do need richer, more honest, more nuanced conversations about Zionism, anti-Zionism, Israel, and diaspora Jewish identity. Those conversations are happening, in synagogues, in classrooms and in the pages of Jewish publications like this one. They deserve serious venues and serious interlocutors.
Fifth Avenue on a Sunday afternoon, with Chikli, Bezalel and Sofer as honored guests, is not that venue.
Mamdani was right to decline to issue that endorsement. To the Jewish establishment that has called him an antisemite for it: I would ask you, with all due respect, to look again at who you invited to the party.
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