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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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The latest issue of the Hasidic magazine ‘Chvalyes’ discusses psychedelic drugs
ערגעץ װוּ אױף דער ייִדישער װעלט, אָדער דער ייִדיש־װעלט, דאַרף זיך געפֿינען אַ פֿאָרשער װאָס זאָל זיך אָפּגעבן מיט דער נײַער געשיכטע פֿון דער חסידישער ליטעראַטור, בפֿרט מיט אירע עליות און ירידות, די פּערזענלעכקײטן און אַנשטאַלטן.
אַ נײַע און פֿאַרכאַפּנדיקע חסידישע אױסגאַבע איז תּמיד אַ סיבה זיך צו אַנגזאַזשירן מיט דער דאָזיקער געשיכטע, צו פֿאַרשטײן פֿאַר װאָס ס׳איז כּדאַי דאָס צו לײענען מיט קאָפּ.
טאַקע דערפֿאַר וועל איך הײַנט שרײַבן וועגן „כוואַליעס“ — אַ נײַעם זשורנאַל, וואָס איך האָב הײַיאָר מיטגענומען אין שיל אַרײַן װי לײענװאַרג בעת די לאַנגע יום־טובֿ־דרשות.
ס׳איז פֿאַראַן אַזאַ סטערעאָטיפּ בײַ ייִדישיסטן (און מיט דעם בין איך אױסן נישט־חסידישע ייִדיש־רעדערס און ליבהאָבערס פֿון ייִדיש), אַז חסידיש ייִדיש האָט נאָר צו טאָן מיט גאָר פֿרומע זאַכן, נאָר טעמעס װאָס גוטע פֿרומע לײַט װאָלטן אָנגענומען.
ס׳איז אָבער נישט אַזױ. דורך די אַלע גילגולים פֿון דער אַמעריקאַנער חסידישער ליטעראַטור — זאָל זײַן בלאָגס, װעבזײַטלעך (צום בײַשפּיל „אײַװעלט“ אָדער דער שױן אונטערגעגאַנגענער „קאַװע־שטיבעל“), אָדער אין אַ רײ קורציאָריקע אָבער דאָך לעבעדיקע זשורנאַלן — איז דער אינטערעסאַנטסטער אינהאַלט, לױט מײַן מיינונג, נישט די עסײען װעגן דער חסידישער געשיכטע, אָדער מעשׂיות פֿון צדיקים און רביים, נאָר דװקא די גבֿית־עדותן פֿון טאָגטעגלעכע קאָנפֿליקטן.
געװען אַ מאָל „װעקער“ (דאָרט האָב איך אָפּגעדרוקט אַ פּאָר שטיקלעך, װאָס דאָס איז אַלײן אַ סימן פֿון אָפֿנקײט — װי אָפֿט לײענען די ייִדישיסטן און די חסידים אײנער דעם צװײטן?), און דערנאָך איז מען אַריבער אױף אַ נײַער פּובליקאַציע, „כװאַליעס“.
סײַ „װעקער“ סײַ „קאַװע שטיבעל“ זײַנען צום באַדויערן מער נישטאָ — דאַכט זיך, מער צוליב פֿינאַנציעלע װי אידעאָלאָגישע סיבות. אַ דאַנק דער מי, און מסתּמא דעם כּוח־הגעלטשאַפֿונג פֿון דער רעדאַקציע, האָט מען אָבער שױן אַרױסגעגעבן העכער אַ טוץ נומערן פֿון „כװאַליעס,“ װאָס איך דערלױב זיך צו זאָגן איז פּראָסט־פּשוט אַ גילגול פֿון „דער װעקער.“
דער נײַער נומער איז אָבער באַזונדערש רײַך און כּדאַי אָנצוקוקן צוליב דעם פֿענצטערל, װאָס ער עפֿנט אױף אין דער חסידישער װעלט אַרײַן. און דװקא אַ פֿענצטערל װאָס װײַזט די טײלן פֿון דער געזעלשאַפֿט װאָס אַ סך װילן, זײ זאָלן בלײַבן באַהאַלטן. װי די רעדאַקציע „כװאַליעס“ באַשרײַבט זײער צײַטשריפֿט, דינט זי ווי אַ פּלאַטפֿאָרמע פֿאַר מאַטעריאַלן „װאָס האָבן נישט קײן געהעריגן פּלאַץ אין די אַלגעמײנע אױסגאַבעס אױף די פּאָליצעס פֿון די הײמישע געשעפֿטן.“
ספּעציעל טשיקאַװע איז די טעמע װאָס פֿאַרנעמט דעם אױבן־אָן פֿון דער איצטיקער פֿילפֿאַרביקער הילע: „סײַקעדעליקס,“ דאָס הײסט, דער באַנוץ פֿון פּסיכעדעלישע סובסאַנצן אין די היימישע קרײַזן און זײער װירקונג אױפֿן יחיד און כּלל.
זיכער, װי אַ דאָקטער און אַ מענטש װאָס איז מער װײניקער באַקאַנט מיט דער הױפּטשטראָמיקער גױיִשער אַמעריקאַנער קולטור, האָב איך געװוּסט אַז די דאָזיקע בשׂמים, צום בײַשפּיל אײַאַהואַסקאַ, קעטאַמין, פּסילאָסײַבין, און אַזױ װײַטער, זײַנען געשטיגן אין פּאָפּולעריטעט. נאָר אַז זײ האָבן אױך אַרײַנגעדרונגען אין בתּי־מדרשים, בײַ רבישע משפּחות און גבֿירישע בעלי־בתּים, װי אױך פּאָרפֿעלקער און סתּם חסידים מיט כּלערלײ פֿאַרלאַנגען און פּראָבלעמען – דאָס האָב איך נישט געװוּסט.
אין דעם עפֿענונג־אַרטיקל װאָס דינט װי אַן אַרײַנפֿיר אין דער טעמע, װערט קלאָר װי פֿאַרשפּרייט ס׳איז שױן געװאָרן די דאָזיקע „סחורה.“ „װער האָט מעדיצין?“ פֿרעגט אײנעם בײַ א שבת־טיש. אַ צװײטער זאָגט אַז ער האָט קעטאַמין, נאָר דער װאָס האָט געבעטן די „מעדיצין,“ באַשרײַבט װײַטער דער מחבר פֿון אַרטיקל, „שטעלט קלאָר אַז ער זוכט דװקא שװעמלעך. עס נעמט נאָך אַ סעקונדע ביז אַ צװײטע ברענגט אַפֿיר די געװוּנטשענע ׳מעדיצין׳, װאָס װערט געגעסן בײַם שבת טיש װי דער אַפֿיקומן בײַם סדר.“
װי אַזױ איז מען געקומען צו דעם? מע פּרוּװט באַקענען דעם לײענער אױף אײן פֿוס מיט דער געשיכטע פֿון פּסיכעדעלקס. עס װערט ברײט באַהאַנדלט די אַמעריקאַנער געשיכטע פֿון דער יוגנט-קולטור בשעת די 1960ער יאָרן און אירע פֿאַרבינדונגען מיט פֿאַרשײדענע סובסטאַנצן װאָס „ענדערן“ דעם מוח, װי אױך מעגלעכע פּאַראַלעלן צװישן יענער היפּי־װעלט פֿון געזעלשאַפֿטלעכן אױפֿברױז און דער הײַנטיקער װעלט פֿון כעמיש־נײַגעריקע חסידים.
נישט דאָס װערט דערזאָגט, נאָר די דאָזיקע װעלט איז אױך אין מיטן פֿון אַ רײ לאַנג־טערמיניקע און טיף־גרײכיקע בײַטענישן, און דער דאָזיקער סובסטאַנצן־באַנוץ איז זיכער טײלװײַז געװירקט דערפֿון. אײן קעפּל אין דעם אַרטיקל פֿון דער געשיכטע פֿון פּסיכעדעליקס שטעלט אַפֿילו די פֿראַגע, „צי זעכציג־ט זיך יעצט אין דער הײמישער װעלט?“ דאָס הײסט, צי זײַנען הײַנטיקע הסידים געװירקט פֿון יענע פֿאַרטשאַדעטע יאָרן פֿון דער אַמעריקאַנער יוגנט אין די 1960ער?
שטעקט אפֿשר דער גרעסטער חידוש אין דעם, װי אַזױ די שרײַבערס פֿון די אַרטיקלען אױף דער דאָזיקער טעמע טרעטן אַרױס צו זאָגן אַז דעם נושׂא באַהאַנדלט מען אין דעם נומער װײַל די אָנפֿירערס פֿון זײער קהילה גיבן זיך נישט אָפּ דערמיט. מוטיק, נאָר אױך אונטער פּסעװדאָנימען….און אַרױסברענגען די דאָזיקע פֿראַגעס װיל מען אױף אַ געמאָסטענעם, נישט קאָנטראָװערסיעלן אופֿן. װי עס זאָגן די רעדאַקטאָרן, „מיר זענען נישט דאָ צו טױשן קײנעם אָדער צו שטופּן אַגענדעס.“
דער רעשט פֿון דעם פֿעטן נומער איז אָבער אױך װיכטיק. עס נעמט אַרײַן אַן אַרטיקל פֿון אַ חסידיתטע מיטן פּסעוודאָנים „אשת חבֿר“, אונטערן טיטל „אַ פֿעמיניסטקע װאַקסט אין ברוקלין“. די פֿרוי גײט אַדורך אַ קריזיס פֿון אמונה װאָס װערט באַאײַנפֿלוסט אָבער נישט געלײזט פֿון די װערק פֿון מאָדערן־פֿרומע ייִדישע פֿרױען, װאָס האָבן קריטיקרט אױף אַן ענלעכן אופֿן די ייִדישע פּאַטריאַרכיע.
„איך האָב טועם געװען דעם סאָרט אָפֿענעם דזשודאַיִזם,“ שרײַבט „אשת חבֿר“, „און נישט געטראָפֿן דאָרט אידישקײט. מײַן באַשעפֿער האָט אַ חסידישן אַקצענט.“ לסוף באַשליסט זי, אז אפֿשר מוז זי אַלײן אָנשרײַבן אַ בוך װעגן אירע קאָנפֿליקטן. „אױב איז דאָ אַ בוך װאָס דו װילסט לײענען אָבער עס איז נאָכנישט געשריבן געװאָרן, דאַן מוזטו עס אַלײן שרײַבן.“
אַ לענגערע עסײ, ממש אַ מאַמר, פֿון באַװוּסטן שרײַבער קטלא קניא גיט זיך אָפּ מיט דער טעמע פֿון ייִדישן חינוך — נאָך אַ בײַשפּיל פֿון אַ טיפֿזיניקער און שאַרפֿער קריטיק װאָס צילט דװקא אױף די סאַמע יסודות פֿון חסידישן לעבן־שטייגער. דער מחבר פּרוּװט האַלטן דעם באַלאַנס צװישן מוטיקן דעם בחור צו װעמען ער שרײַבט, און אים „טראָסטן“ (װי עס זאָגן די חסידים) אַלײן צו געפֿינען זײַן װעג אין לעבן. „דאָרט איז דיר איצט באַשערט צו זײַן און װען די צײַט װעט קומען װעסטו דאַרפֿן מוזן אַלײן אַרױסקריכן און אױסװאַקסן.“
(אין 2018 האָט קטלא קניא אַרױסגעגעבן אַ גאַנץ בוך וועגן דער דאָזיקער טעמע.דער עסײ אין „כװאַליעס“ איז אַנדערש, געוואָנדן צו אַ יונגן בחור אין ערשטן פּערזאָן, און פֿאָרט איז דאָס אַ באַװײַז, אַז די פֿאַרמאַכטקײט פֿון חינוך איז פֿאַרבליבן אַן אַקטועלע טעמע, װאָס שטערט דעם שרײַבער.)
אַרױסהײבן דאַרף מען אױך אַ ליד װאָס באַשרײַבט אַ פּרטימדיק, און זײער מענטשיש, בילד פֿון דעם רבונו של עולם אַלײן. דער דאָזיקער כּבֿיכול איז „אינספּײַערד“ (אינספּירירט), זאָגט דער פּאָעט, „בײַ משה רבני, אָבאַמאַ, און דשאַן נאַש.“ ער „שמײכלט מיסטעריעז, מאָנאַ ליזאַ.“ כאָטש ער איז אוניװערסאַל, האָט ער דאָך אַ „סאָפֿט ספּאָט פֿאַר זײַן אידיש פֿאָלק.“ פֿירט אױס דער דיכטער, „שמע ישׂראל – דער װאָן ענד אָנלי, ה׳ אחד!“
צװײ באַמערקונגען פּאַסן דאָ װי אַן אױספֿיר. ראשית-כּל, אַז מע האָט געשאַפֿן די נײיטיקע געלטגעבערס פֿאַר אַזאַ נומער איז אַלײן אַ סימן אַז אַן אױסגאַבע פֿאַר אמתער ליטעראַטור, װאָס מע פֿלעגט רופֿן אין אונדזער קרײַזן אַ „ליטעראַרישע געזעלשאַפֿטלעכע צײַטשריפֿט“ איז יאָ פֿאַראַן, זײַט בײַ זײַט מיט די גאָר פֿרומע אָפֿיצעלע אָרגאַנען, שבת־בלעטער, און הײמזשורנאַלן. (מסתּמא נעמען יענע אַרײַן אױך גוטע ליטעראַטור; איך בין פּשוט װײניק באַקאַנט מיט זײ.)
און לסוף, דאַרף איך מודה זײַן אַז ס׳איז אַ מחיה צו לײענען אַ זשורנאַל פֿון ייִדן, װאָס איז נישט 100% אָפּגעגעבן ישׂראל אָדער פּאַלעסטינע. זײַט װיסן אַז יענע טעמע איז מיר לעבנס־װיכטיק, און פֿאָרט, װערט אָפֿט מאָל אױסגעשעפּט יעדן ביסל שאַפֿערישער כּוח פֿון דער דאָזיקער הײסער טעמע.
דעם דאָזיקן זשורנאַל און זײַנע שרײַבערס פֿעלט נישט קײן כּוח, דאַכט זיך. איך קוק אַרױס צו לײענען די קומעדיקע נומערן.
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Watch: The cattle farmer building a synagogue in a cornfield
For the past year and a half, we’ve followed Nik Jakobs, a third-generation cattle farmer in Sterling, Illinois, who is building a synagogue in a two-acre cornfield. Alongside it, he is also building a museum of tolerance.
Our coverage began when Nik traveled 600 miles to rescue the ark, bimah and stained glass from a closing congregation in Pennsylvania. After we published our first story about the unlikely journey, additional synagogues began donating their own sacred objects, each from a community that could no longer keep them.
Nik, 41, is the grandson of Holocaust survivors, and the museum is his way of teaching the tolerance that saved his family. His grandmother, Edith, was 11 in 1942 when a Lutheran farmer named Willem Drenth offered the family’s home as a hiding place. She was one of 13 Jews who lived in that single room for two years and eight months, with no electricity and no running water. About a hundred villagers knew about the Jews in hiding. No one said a word.
While in hiding, Edith kept busy by learning to knit. She embroidered a cloth, which survived and will now cover the Torah in Nik’s new synagogue.
This spring, Nik and his family traveled to the Netherlands, where the village staged a play about the family in hiding and the Drenths. They watched actors portray their ancestors, and the Christians who kept their family alive.
Edith died this month at 95. Her voice, trained to a whisper in hiding, never regained its full volume. Her story did.
That story is now drawing others in. The Anne Frank House donates one sapling a year, grown from the chestnut tree Anne saw from her attic hiding place. It has chosen the Illinois synagogue and museum to plant its next one. After visiting Anne’s house with his four daughters, Nik put it this way: “Anne’s story ends. My grandmother’s didn’t.”
Nik and his family broke ground on the sanctuary this spring, on land beside a Lutheran church — the same faith as the farmer who saved his family.
If all goes as planned, the doors open in late 2027. They hope the first service will be the bat mitzvah of Nik’s oldest daughter, Taylor. The pews will hold the congregants of the closing synagogues whose ark, Torah and windows helped build the room, there to see their old homes live again.
Catch up on all of our stories about Nik Jakobs.
The post Watch: The cattle farmer building a synagogue in a cornfield appeared first on The Forward.
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In this Florida district, politicians battle over who most loves Israel
(JTA) — BOCA RATON, Fla. — Rep. Jared Moskowitz said that he is “proud to be known as the most pro-Israel Jewish Democrat in Congress” during a synagogue event in one of the country’s most Jewish congressional districts on Tuesday evening.
The comment came during a one-hour candidates’ forum featuring Moskowitz and his Republican challenger, Scott Singer — both Jewish and both wearing kippahs — that largely centered on Israel and got testy at moments.
Moskowitz said he is “proud to have AIPAC’s endorsement” at a moment when the popularity of Israel and the pro-Israel lobbying group AIPAC has plummeted among Democratic voters amid Israel’s military campaign in Gaza and the war with Iran.
But the crowd at the Reform synagogue Congregation B’nai Israel in Boca Raton was, like Florida’s 25th Congressional District itself, split across party lines, and staunchly pro-Israel.
“This isn’t New York, this isn’t Boston — this is South Florida,” attendee Edward Kone told the Jewish Telegraphic Agency.
Moskowitz had soundly defeated democratic socialist challenger Oliver Larkin, a sharp Israel critic, in August. As Democrats look to take control of the House of Representatives, Florida’s recently redrawn 25th Congressional District — which would have favored Trump by 9 percentage points in 2024 but backed Joe Biden in 2020 under its new boundaries — is being closely watched ahead of the Nov. 3 midterm elections.
Despite some tense moments between Moskowitz and Singer, who was Boca Raton’s mayor until earlier this year, the two politicians have been largely aligned on the issue of Israel.
Both have condemned accusations that Israel has committed genocide against Palestinians in Gaza. They each oppose any effort to condition or cut off U.S. military aid to Israel. Both supported Israel’s strikes on Iranian facilities in 2025, though Moskowitz has since called for the U.S. to end its war with Iran.
Moskowitz referenced his and Singer’s shared pro-Israel viewpoints on Tuesday during the forum moderated by South Florida Sun Sentinel journalist Anthony Man.
“This is exactly why nothing gets done in Washington. This is exactly why nothing is functioning: Because literally two people who agree on 99% of this stuff want to take this 1% and try to ram it down people’s throats,” Moskowitz said.
Singer, however, made a point of emphasizing where the two candidates differ on Israel. He criticized Moskowitz for voting for the March 2026 war powers resolution in response to the Trump administration ordering strikes on Iran without congressional authorization. While Moskowitz has called for the administration to end the war, Singer argued that the threat of Iran must be thoroughly dealt with. “We have to ensure victory here,” he said.
For siblings Edward and Susan Kone, both Jewish Republican voters who attended the forum, Moskowitz’s record on Israel does not stack up against Singer’s positions. They, too, criticized Moskowitz for voting to end the Iran war, and for his 2023 vote to keep Minnesota Rep. Ilhan Omar on the Foreign Affairs Committee.
“I’m America first, but Israel is extremely important to me. And on Israel, Jared Moskowitz just doesn’t add up,” Edward Kone said. Omar is among a number of pro-Palestinian Democrats whom Republicans say are leading the party’s left-wing flank in turning it against Israel..
Singer himself blasted Moskowitz for his vote against removing Omar, and tied Moskowitz to the left flank of the Democratic Party.
“The strategy is adjective, verb, Ilhan Omar, I got it. Let’s move onto the next topic,” Moskowitz responded, drawing some groans from the audience.
Others in the room had voted for Moskowitz in previous elections, and said they were likely to do so again, at least in part because of his Israel stance.
“He has a good track record with Israel, and as an American Jew I appreciate that,” said Peter Davidson, an independent who is a member of Congregation B’nai Israel.
Moskowitz pointed to his endorsement from AIPAC and Singer’s lack of an endorsement from Rep. Randy Fine, a fellow Jewish Republican from Florida, as evidence that he is seen as satisfyingly pro-Israel across parts of the political spectrum. He also pointed to a post on X by Jeff Miller, an RJC board member, who wrote that he has “zero interest in tearing down one of the few Democrats left willing to stand unapologetically with America and Israel.”
“They’re staying out,” Moskowitz said. “They’re specifically saying, ‘We’re not going to oppose Jared Moskowitz because of his record fighting antisemitism and fighting for the State of Israel.’”
Singer has the endorsement of the RJC as well as Trump. He admitted during the forum that he had reached out to Fine for an endorsement and was rejected.
Earlier this year, Singer downplayed anti-Israel trends on the right as “a few fringe commentators” who are out of step with Trump. Moskowitz challenged him to name three of those figures: Tucker Carlson, Candace Owens and Florida gubernatorial candidate James Fishback.
Singer named all three and said “I gladly, shamelessly condemn” them, but countered that Democrats are voting in anti-Israel voices while Republicans cast theirs aside.
Man also asked Singer about President Donald Trump’s use of the term “Shylock” on Monday, a term that references a character from the play “The Merchant of Venice” which is rooted in an antisemitic trope.
“I think that’s an ill-advised term,” Singer said, before pivoting to praise of Trump and urging the audience to focus on what the president has done for Israel rather than his choice of words..
“‘Merchant of Venice’ happens to be my favorite Shakespeare play. That term has multiple meanings. But let’s look at the real record beyond an offhand comment: No president has been better for the State of Israel than President Trump,” Singer said, drawing applause.
As for the upcoming Israeli elections — which Trump recently weighed in on — Singer told reporters after the event that he was too busy with his own race to make endorsements and does not have a preferred candidate.
“To be candid, I have some awareness of it, but I’m not following it intently,” he said.
Singer’s attacks on Tuesday often focused on Moskowitz’s Democratic Party, which he says will drown out the congressman’s pro-Israel views as it takes its cues from its left-wing flank. He pointed to Moskowitz’s quote from last month, when he said that pro-Israel voices are being “ostracized” in the party.
“It’s great that he says these things, but he’s also voted to empower Ilhan Omar twice,” Singer said. “He’s tried to go along to get along with the Squad, and it’s not working.”
But for some in the crowd, that attack didn’t quite land.
Davidson, an independent, said he is “not a great fan” of the Democratic Party. But for him, Moskowitz is an exception.
“He’s more of an independent thinker,” Davidson said. “Crosses a lot of party lines.”
This article originally appeared on JTA.org.
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