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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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On final visit to Israel as mayor, Adams makes a closing argument against Mamdani
JERUSALEM — Outgoing New York City Mayor Eric Adams embarked on a multi-day swing through Israel, billed as both a show of solidarity amid rising antisemitism and a farewell visit. But it was also something else: likely the last international trip a New York City mayor will take for years, a point Adams wanted to underscore.
Mayor-elect Zohran Mamdani, a strident critic of Israel, has pledged not to visit the country, breaking with a tradition upheld by every mayor since 1951 to demonstrate solidarity with Jewish constituents at home. He has also vowed to end the city’s decades-long practice of investing millions in Israeli government debt securities and has said he would order the arrest of Prime Minister Benjamin Netanyahu if he lands in New York.
“I think he has to have the level of political maturity to understand that government is not protesting,” Adams said in a fireside chat at an event hosted in his honor by the Combat Antisemitism Movement (CAM) in Tel Aviv on Sunday evening. “And all those who are in his midst, like the Democratic Socialists of America, he needs to explain to them that he’s now the mayor. He’s no longer someone that is just protesting in the city of New York. He has to protect the city of New York.”
In the 30-minute conversation, moderated by Sacha Roytman, chief executive of CAM, Adams repeatedly alluded to the impact of Mamdani’s political rise and victory in the mayoral election earlier this month. The outgoing mayor said he told his team a year ago that Mamdani was on track to win the Democratic primary and that he expected to face him in a general election showdown, believing he could beat him.
Adams made combating antisemitism central to his reelection effort. Elected as a Democrat in 2021, he later lost key support after striking a deal with the Trump administration to drop his corruption case, prompting him to run for a second term on an independent line dubbed “End Antisemitism.” He became popular in Israel after delivering a forceful speech at a New York City rally in the days following the Oct. 7, 2023 Hamas attack on Israel, in which he declared, “We are not alright.” He also resisted progressive pressure to distance himself from Israel and faced backlash for his crackdown on pro-Palestinian protests at colleges and across the city. Adams recently signed an executive order adopting the International Holocaust Remembrance Alliance definition of antisemitism, which labels most forms of anti-Zionism as antisemitic.
Mamdani, who attended some of the pro-Palestinian protests, faced the most scrutiny for refusing to outright condemn the slogan “globalize the intifada” and for saying he doesn’t recognize Israel as a Jewish state.
At the Sunday event, Adams took several shots at Mamdani, calling his election “abnormal” and questioning whether outside actors had influenced the race by shaping social-media algorithms. He suggested that the seeds of Mamdani’s campaign, powered by youthful energy and a promise of unconventional change, were planted during the protests against Israel.
“He had a ready-made army,” Adams said. “He had the Free Palestine movement that was heavily in place. He had the war that was going on, and then he had a group of angry youth on our college campuses. So when he emerged and said he was going to run on one issue, the Free Palestine movement, he already had the army that responded to him.” (Mamdani also ran on issues of affordability, universal childcare, and free buses.)
Adams said the Jewish community in New York “must prepare itself” to respond to any antisemitic attacks that might come. “I think this is a period where they need to be very conscious that there’s a level of global hostility towards the Jewish community,” he said, adding, “If I was a Jewish New Yorker with children, I would be concerned right now.”
Speaking with the Forward on Monday, Adams said he is being truthful about the situation. “I’m not going to lie to New Yorkers, I know what I’m seeing,” he said. “Other people will sugarcoat this moment, and I’m not going to do that. I’m not going to lie. I’m not going to pretend as though everything is fine.” To his critics, Adams said, “Those who want to interpret my candid view of what’s playing out now in our city and across the globe, they can do so. That is not up to me to try to convince them of what I am seeing and what I am hearing and what is playing out.”
The outgoing mayor is expected to meet with Israeli Prime Minister Benjamin Netanyahu at his office on Tuesday. Netanyahu said in an interview last week, commenting on Mamdani’s win, “If that’s the future of New York, I think New York has a very dim future.” Adams said he’ll assure Netanyahu and other leaders he is meeting with the “49% of New Yorkers did not buy into the rhetoric of the hatred towards Israel.” Madani won with 50.4% of the more than two million votes cast.
Other highlights of Adams’ Israel trip
Earlier in the day, Adams held an emotional 30-minute meeting with three former Israeli hostages — Yarden Bibas, whose wife Shiri and young sons Kfir and Ariel were murdered in captivity; Sagi Dekel-Chen, an American-Israeli released in a ceasefire deal in January; and Bar Kuperstein, who was among the last 20 living hostages freed last month.
Held at the World Jewish Sports Museum at Kfar Maccabiah, Dekel-Chen described his time in captivity and the slow and painful process of healing. Bibas described his life in grief, adding that his only purpose is “to stay alive and remember my wife and kids.”
Adams, visibly shaken, told the former hostages that he admired their resilience and that New Yorkers needed to hear these stories firsthand. He offered to host them for the ball drop in Times Square on New Year’s Eve.
At the museum, Roy Hessing, deputy CEO of the Maccabiah movement, invited Adams to serve as an honorary guest at the next Maccabiah Games, now scheduled to resume in June, after delays due to the war. The event is expected to draw 30,000 participants, including 15,000 from abroad.
Adams also paid a visit to the Western Wall on Sunday night, where he placed a note in the wall and prayed. In the guestbook, Adams wrote that “God is real and life has shown us this.”
Shortly after landing on Saturday, Adams walked through the Nachalat Binyamin neighborhood with Tel Aviv’s deputy mayor, Asaf Zamir, who was Israel’s consul general in New York from 2021 to 2023. Zamir was outspoken against Mamdani throughout the mayoral campaign. Adams has long referred to New York as the “Tel Aviv of America.”
In tours closed to the press, Adams visited the IMI Academy, where Israeli instructors provide tactical and emergency-response training, and the Aerial Systems facility, where he was shown the latest drone and surveillance technologies. He also addressed the annual mayors’ conference hosted by the American Jewish Congress at Jerusalem’s King David Hotel.
At many of his stops, Adams said about his farewell: “I’m not just the mayor that’s leaving office, I’m your brother.”
The post On final visit to Israel as mayor, Adams makes a closing argument against Mamdani appeared first on The Forward.
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Graffiti during Mexican protests against Claudia Sheinbaum’s government calls out ‘Jewish whore’
(JTA) — Mexico’s Jewish community has condemned antisemitic graffiti apparently directed toward the country’s Jewish president during an anti-government protest on Saturday.
The graffiti painted on the door of the Supreme Court building said “puta judia” or “Jewish whore,” in what has been widely interpreted as a reference to Claudia Sheinbaum. It also included a crossed-out Star of David.
The graffiti was painted during a youth-led protest that responds to rising violence, crime and corruption, particularly by drug cartels. Dozens of people were reportedly arrested and injured in Saturday’s protests.
“The Jewish Community of Mexico strongly condemns the antisemitic remarks and expressions” during the march, the community said in a statement on Sunday. “Antisemitism is a form of discrimination according to our constitution and must be rejected clearly and unequivocally.”
Sheinbaum, elected last year, is Mexico’s first Jewish president. She has not made her Jewish identity a part of her public persona and is not a regular participant in the country’s tight-knit Jewish communities.
Israel’s foreign minister, Gideon Saar, also condemned the graffiti. “Israel strongly condemns the antisemitic and sexist slurs directed at Mexico’s President @Claudiashein,” he tweeted while sharing a picture from the protests. “There is no place for such attacks in political discourse. All forms of antisemitism, in any context, must be rejected unequivocally.”
Israel strongly condemns the antisemitic and sexist slurs directed at Mexico’s President @Claudiashein. There is no place for such attacks in political discourse.
All forms of antisemitism, in any context, must be rejected unequivocally. pic.twitter.com/HEDKzq34e8— Gideon Sa’ar | גדעון סער (@gidonsaar) November 16, 2025
Some of Sheinbaum’s detractors have previously invoked her Jewish background, including former President Vicente Fox, who called her a “Bulgarian Jew” in an apparent attempt to minimize her candidacy. He apologized, but made a similar comment after Sheinbaum briefly donned a rosary with a crucifix after being given one during a campaign stop. “JEWISH AND FOREIGN AT THE SAME TIME,” Fox tweeted. Sheinbaum produced her birth certificate multiple times to dispel rumors that she was born in Bulgaria.
The post Graffiti during Mexican protests against Claudia Sheinbaum’s government calls out ‘Jewish whore’ appeared first on The Forward.
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Lebanon Plans UN Complaint Against Israel Over Border Wall
A UN vehicle drives near a concrete wall along Lebanon’s southern border which, according to the Lebanese presidency, extends beyond the “Blue Line”, a U.N.-mapped line separating Lebanon from Israel and the Israeli-occupied Golan Heights, as seen from northern Israel, November 16, 2025. REUTERS/Shir Torem
Lebanon will file a complaint to the U.N. Security Council against Israel for constructing a concrete wall along Lebanon’s southern border that extends beyond the “Blue Line,” the Lebanese presidency said on Saturday.
The Blue Line is a U.N.-mapped line separating Lebanon from Israel and the Israeli-occupied Golan Heights. Israeli forces withdrew to the Blue Line when they left south Lebanon in 2000.
A spokesperson for the U.N. secretary-general, Stephane Dujarric, said on Friday the wall has made more than 4,000 square meters (nearly an acre) of Lebanese territory inaccessible to the local population.
The Lebanese presidency echoed his remarks, saying in a statement that Israel’s ongoing construction constituted “a violation of U.N. Security Council Resolution 1701 and an infringement on Lebanon’s sovereignty and territorial integrity.”
Dujarric said the United Nations Interim Force in Lebanon (UNIFIL) had requested that the wall be removed.
An Israeli military spokesperson denied on Friday that the wall crossed the Blue Line.
“The wall is part of a broader IDF plan whose construction began in 2022,” the spokesperson said, referring to the Israel Defense Forces.
“Since the start of the war, and as part of lessons learned from it, the IDF has been advancing a series of measures, including reinforcing the physical barrier along the northern border.”
UNIFIL, established in 1978, operates between the Litani River in the north and the Blue Line in the south. The mission has more than 10,000 troops from 50 countries and about 800 civilian staff, according to its website.