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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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Germany has found the culprit behind a deadly antisemitic arson fire. It still hasn’t learned its lesson.
The only way out of the Jewish old-age home at Reichenbachstrasse 27 in Munich ran through a four-story wooden stairwell. On the evening of Feb. 13, 1970, someone soaked that stairwell with gasoline and set it on fire.
It became a chimney. Flames and smoke raced upward, cutting off the residents above. Firefighters rescued many of the roughly 30 people inside, but seven Jewish residents aged 59 to 71, died. 15 people were injured, four seriously. All seven victims had survived Nazi persecution. Auschwitz had been liberated just 25 years earlier.
For 56 years, no one could identify the culprit.
In August, the Munich General Prosecutor’s Office announced that it now believes a right-wing extremist started the fire. Earlier this year, the German newsmagazine Der Spiegel identified him as Bernd V., providing only his first name and last initial in accordance with German privacy laws. Der Spiegel also ran a black and white police photo of the suspect. It shows a man with a broad forehead, deep-set eyes and weak chin, wearing an unsmiling, withdrawn expression. The caption read, “Raised with Love for the Führer.”
Bernd V. was 25 at the time of the arson attack and died in 2020. His death means there will be no trial, though prosecutors say the evidence now points clearly to his responsibility. They found no reliable evidence of accomplices.
After his death, a woman contacted authorities and told the police that Bernd V. and two other men had been involved in a botched burglary at a jewelry store close to the Jewish community center on the night of the attack. Bernd V. ranted to his accomplices that the Jews had everything while Germans like him had nothing and verbally threatened to set Jews on fire. Roughly 15 minutes later, the building at Reichenbachstrasse 27 was ablaze.
In April 2025, investigators in Munich reopened the case, which had been closed in 2017 for lack of evidence. Old acquaintances of Bernd V, including relatives of the woman who had provided the new statement and who corroborated her account, remembered a man with a deep hatred of Jews who was obsessed with Hitler. He played records of the Führer’s speeches and practiced shooting around Berchtesgaden, where Hitler once had an idyllic residence. As a juvenile, Bernd V. had been sentenced for blowing up two telephone booths.
More strikingly, he was not a new suspect in the arson case. A former cellmate from one of Bernd V.’s prison stints in the early 1970s told investigators that Bernd V. had boasted to him of carrying out the Reichenbachstrasse attack and described details that, according to prosecutors, were not publicly known. Prosecutors questioned Bernd V. in 1972; he denied involvement, and the case against him was dropped two years later for lack of evidence.
The Reichenbachstrasse fire changed Jewish life in Germany — and the long uncertainty about its perpetrator helped shape a comforting German story about the sources of postwar antisemitism.
Bernhard Purin, the founding director of Munich’s Jewish Museum, has called the attack, quite simply, “the rupture.” Purin, who died in 2024, explained in a 2020 interview that before Feb. 13, 1970, people entered Jewish community centers much as they entered Christian ones. Afterward came police cars, cameras and heightened security, including metal detectors. Jews in Germany drew the bleak conclusion that they could only live under protection.
That security regime has become so routine here that it passes for normal. Police officers and Israeli security stand guard outside synagogues and Jewish schools. Visitors pass barriers and identity checks before entering institutions devoted to worship, education and community.
Permanent security presence has an unintended consequence: It marks official Jewish life as something fundamentally separate from ordinary life. A synagogue behind police barriers may be safer, but that fortification tells Jews and non-Jews alike that Jewish institutions are a world apart.
The attack also has another legacy. Because nobody knew who committed it, the crime gradually became evidence in a wider argument about left-wing antisemitism. In 1969, German left-wing radicals planted a bomb that failed to detonate at the Jewish community center in West Berlin on the anniversary of Kristallnacht. Parts of the revolutionary left embraced an anti-Zionism that could turn antisemitic. The Red Army Faction later celebrated the Palestinian terrorists who murdered 11 members of the Israeli Olympic team in Munich in 1972; German left-wing terrorists subsequently collaborated with Palestinian militants at Entebbe.
But the history of left-wing antisemitism gradually absorbed a crime for which no such attribution had been proved. It fed into the narrative that, as the political scientist Yascha Mounk put in his 2014 book Stranger in My Own Country, “since 1945, the Germans who have committed the most radical attacks on Jews were not right-wing radicals.” Many Germans found it psychologically convenient to believe that the Reichenbachstrasse victims had died at the hands of German antifascists rather than neo-Nazis.
The generation of 1968 performed an indispensable service by forcing West Germany to confront questions its parents had largely evaded: What had Germans done under Hitler? Why had former Nazis returned to positions of authority? What did Auschwitz demand of the generations that followed?
The discovery that some of those self-proclaimed antifascists themselves became antisemites produced a terrible historical irony. It also offered Germans a way to relocate antisemitism. The Jew-haters were now the rebellious children, the revolutionary leftists, the Palestinians and not necessarily the political descendants of the very people who had murdered Europe’s Jews.
Mounk himself called the radical left’s projection of fascism onto Jews and Israel a “psychological coping mechanism.” The apparent solution of the Munich case suggests a parallel mechanism in postwar Germany: antisemitism has often been easiest to recognize when it belongs to somebody else.
Today, that somebody else is frequently Muslim.
At the reopening of the Reichenbachstrasse synagogue last September, German Chancellor Friedrich Merz explicitly acknowledged that antisemitism “was never gone” from the Federal Republic. But within minutes he turned to immigrants, arguing that Germany had ignored the fact that a “considerable” number came from countries where antisemitism was effectively state doctrine. Months earlier, he had told Fox News that Germany suffered from “a kind of imported antisemitism.”
Since Oct. 7, 2023, Jews in Germany have faced alarming hostility connected to Israel and Gaza, including from Islamist and radical anti-Zionist milieus. But that’s only part of the story. Germany’s principal civil-society monitoring network for antisemitism, RIAS, recorded 8,725 antisemitic incidents in 2025. It linked 807 of them to right-wing extremism, the highest number in that category since nationwide monitoring began. And Germany now has a far-right party of enormous electoral strength whose leading figures have repeatedly tested the boundaries of the country’s postwar taboos.
That party, Alternative for Germany (AfD), is currently polling around 41% in Saxony-Anhalt ahead of next month’s state election. One of its most prominent politicians, Björn Höcke, has twice been convicted for using the banned slogan of Hitler’s SA.
Fifty-six years after seven Jews died in a burning building, prosecutors now believe the likeliest perpetrator was a German neo-Nazi whose fanatical hatred had been visible for years. That finding comes too late to punish him. It does not come too late to unsettle the story Germans have often told themselves about the crime.
And the other legacy of that night remains all around us. The rupture of 1970 has never fully healed. German Jews still worship, study and gather behind cameras, guards and police barricades: constant reminders that Jewish life here is somehow separate.
The challenge is not only to safeguard Jewish life, but to stop treating permanent protection as its natural condition. That requires Germany to confront antisemitism wherever it appears, including on a resurgent far right whose danger is easier to minimize when attention is fixed elsewhere.
The post Germany has found the culprit behind a deadly antisemitic arson fire. It still hasn’t learned its lesson. appeared first on The Forward.
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Emil Kalin wins Mendele Prize for Yiddish Literature 2026
דער תּּל-אָבֿיבֿער שטאָטראַט האָט די וואָך אַנאָנסירט, אַז דער ייִדישער שרײַבער עמיל קאַלין האָט זוכה געווען צו באַקומען דעם מענדעלע-פּּריז פֿאַר ייִדישער ליטעראַטור. דעם פּרײַז טיילט די שטאָט אויס יעדע פֿיר יאָר פֿאַר בעלעטריסטיק, ליטעראַטור־קריטיק אָדער אַנדערע בײַטראָגן צו דער ייִדיש־ליטעראַטור.
דעם פּריז האָט מען אים געגעבן אין שײַכות מיט זײַן לעצטן ראָמאַן, „צוזאַמענבראָך“ (2025), וועגן אַ געוועזענעם חרדישן ייִד פֿון ירושלים, וואָס פֿאַרלאָזט זײַן פֿרוי און קינד און לאָזט זיך גיין אויף אַ קאָמפּליצירטן גײַסטיקן דרך. דאָס בוך איז דערשינען אין פֿאַרלאַג ייִדיש-בראַנזשע און לייוויק-פֿאַרלאַג, מיט דער שטיצע פֿון דער „נאַציאָנאַלער אינסטאַנץ פֿאַר ייִדישער קולטור“. מע קאָן עס קויפן דורך leyvik.org.
נישט לאַנג נאָך דער פּובליקאַציע פֿונעם ראָמאַן האָט דער פֿאָרווערטס־רעצענזענט מיכאל קרוטיקאָוו געשריבן וועגן דעם בוך, און בפֿרט וועגן דעם הויפּט־פּערסאָנאַזש, הערש, אַזוי:
קאַלין שילדערט סײַ מענטשן און סײַ לאַנדשאַפֿטן אָן קײן שום באַפּוצונג. ער איז אַ מײַסטער פֿון מעטאַפֿאָרישן אימאַזש, װאָס שאַפֿט אַ געהעריקע שטימונג. די שטאָט תּל־אָבֿיבֿ איז אַ מין לעבעדיקע, פֿיבערדיקע חיה, װאָס כאַפּט הערשן פֿעסט אַרום „מיט בײדע שװיציקע הענט.“ די אױטאָבוסן זײַנען „אומגעלומפּערטע יבשה־שיפֿן, װאָס שנײַדן זיך קױם דורך אַ װעג אין דער ברױזנדיקער באַװעגונג.“ ער אַנטלױפֿט קײן ירושלים מיט אַ האָפֿענונג, „אַז ירושלים װעט מיך דערהײבן מיט זיך, אָבער דאָס פֿאַרקערטע איז געשען: ירושלים האָט מיך דערנידערט, אַראָפּגעשלעפּט מיט זיך אין בלאָטע.״
די דרײַ ריכטער פֿונעם פּריז־קאָמיטעט — דבֿ־בער קאָטלערמאַן, דניאל גלאַי און נירה תּובֿל — האָבן געזאָגט, אַז קאַלינס בוך איז נישט בלויז זייער גוט געשריבן, נאָר איז אויך איינער פֿון די גאָר ווייניק מאָדערנע ראָמאַנען אויף ייִדיש, וואָס באַהאַנדלען טעמעס פֿון דער הײַנטיקער ישׂראלדיקער געזעלשאַפֿט.
אַחוץ „צוזאַמענבראָך“ האָט קאַלין אַרויסגעגעבן צוויי אַנדערע ראָמאַנען, און הײַיאָר וועט דערשײַנען זײַן פֿערטער. די אויסטיילונג וועט פֿאָרקומען דעם 1טן דעצעמבער 2026 אין עינבֿ-זאַל, וווּ עס וועט אויך בײַזײַן דער תּל-אָבֿיבֿער בירגער-מײַסטער רון חולדאי.
עמיל קאַלין איז געבוירן געוואָרן אין 1982 אין בוקאַרעשט, און האָט מיט זײַן משפּחה עולה געווען קיין ישׂראל אין עלטער פֿון 7 יאָר.
ער האָט פֿאַרענדיקט זײַנע הויכע לימודים אינעם העברעיִשן אוניווערסיטעט אין ירושלים, און האָט לאַנגע יאָרן געאַרבעט אין הײַטעק. הײַנט לערנט ער פּסיכאָלאָגיע אינעם תּל-אָבֿיבֿער אוניווערסיטעט.
קאַלין האָט אויך איבערגעזעצט אויף ייִדיש דאָס דײַטשישע בוך „דער גאַנג פֿון די הינט“, וואָס איז אַרויס דורכן פֿאַרלאַג „אָלניאַנסקי טעקסט“. זײַנע אַנדערע ביכער זײַנען אַרויס דורך די פֿאַרלאַגן „ייִדיש בראַנזשע“ און „ה. לייוויק“.
זײַנע קירצערע ווערק קען מען לייענען אינעם דיגיטאַלישן זשורנאַל „ייִדיש בראַנזשע“, רעדאַקטירט פֿון באָריס סאַנדלער.
אין יאָר 2025 איז ער פֿאַרבעטן געוואָרן אויף אַ טור אין אַכט שטעט אין דײַטשלאַנד, כּדי פֿאָרצושטעלן דאָס בוך „צוזאַמענברוך“.
ער וווינט אין תּל־אָבֿיבֿ מיט זײַן פֿרוי שבֿע כּהן און זייערע דרײַ קינדער.
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Brussels Airlines workers threaten strike over flights to Israel, citing ethical objections
(JTA) — A Belgian union has threatened to strike against Brussels Airlines for compelling staff to work on flights to Israel, saying that anyone with “safety or conscientious objections” should be able to refuse.
ACV Puls, Belgium’s largest trade union, said on Tuesday that the company was breaking previous agreements to rely on volunteers for flights to Tel Aviv. The airline resumed flights to Tel Aviv on August 3, following a five-month pause because of the U.S.-Israeli war in Iran, and its first flights were operated with volunteers.
“Serious concerns exist among the staff regarding both physical safety and the mental and ethical impact of these flights,” ACV Puls spokesperson Jolinde Defieuw said in a statement. She added that making staffing mandatory was “particularly serious in the context of the ongoing war and the genocide in Gaza.”
ACV Puls, which represents aviation employees including pilots, cabin crews and ground staff in Belgium, said that a strike could follow if Brussels Airlines does not reverse its decision to resume regular staffing. The union argued that flying to Israel could not be deemed sufficiently safe, citing Belgium’s Ministry of Foreign Affairs, which advises against “all non-essential travel to Israel and Jerusalem.”
They also said that workers should be able to decline the flights for ethical reasons. Those who have “safety or conscientious objections must be able to refuse these flights without financial, professional, or disciplinary consequences,” said the union.
Nico Cardone, a spokesperson for Brussels Airlines, told the Jewish Telegraphic Agency that safety was the company’s “highest priority, whether we operate with volunteers or not.” He added that the airline was “not a political party” and made decisions about flight operations based on safety and demand.
“We do not engage in political discussions about the governments of certain destinations, and we ask our staff to uphold this same professional standard,” said Cardone.
ACV Puls said the airline was compelling crews to work because it had not found enough volunteers. Cardone disputed that, saying the airline always aimed to return to regular crew scheduling over time.
Along with threatening a strike, the union called on the Belgian government to weigh in. ACV Puls said the government should take a stance on the availability of commercial flights to Israel “despite the ongoing war, the massive civilian casualties, and the serious accusations of war crimes and human rights violations against the Palestinian population.”
Belgium has grown increasingly critical of Israel’s conduct in Gaza and Israeli settlements in the West Bank since 2023. Earlier this year, Belgium banned aircraft carrying military equipment bound for Israel from crossing its airspace. The government in July approved a ban on goods imported from Israeli settlements in the Palestinian territories.
This article originally appeared on JTA.org.
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