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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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‘Nobody Wants This’ is getting less and less Jewish
In its third season, Nobody Wants This gives up on Judaism.
The Netflix show, starring Adam Brody as the ultimate nice Jewish boy, Rabbi Noah Roklov, and Kristen Bell as Joanne, his shiksa — the show’s preferred term — girlfriend, has been accused, repeatedly, of doing Jews wrong. Its creator, Erin Foster, a fellow blonde who converted for her husband, has just as regularly defended her show as good for the Jews, a positive representation in a time of antisemitism, and has basically implied that anyone who didn’t like it just couldn’t take a joke.
But the complaints have been about more than jokes. Some of the issues were one-offs, like cheesy puns about a bad Jewish basketball team, the Matzo Ballers, that leaned into a stereotype of Jewish men being unathletic. Others pointed to bigger concerns, like when Noah’s mom, who is ostensibly observant, ate pork out of the trash when she thought no one was looking — was the show painting Jews as dishonest liars?
Or there was the time the show mixed up Tu B’Shvat — a holiday celebrating the birthday of trees — and Tisha B’Av, a day of mourning the destruction of the Temple. This sparked debates about whether the writers’ room had done enough to ensure basic cultural competency; the show’s Judaism seemed to rely on shallow signifiers, like a room full of menorahs, to shore up its identity. Foster may have claimed that she made the show to spread “positive Jewish stories,” but the writing has never engaged particularly deeply with Judaism.
Really, though, the biggest complaint across the first two seasons of Nobody Wants This was the Jewish women. Jewish men have often been presented as nebbishy or neurotic in the media, something Foster set out to change, but Jewish women have long gotten the short end of the stick, stereotype-wise, and the show not only doesn’t rehab that image, it worsens it. The Jewish mothers are critical and overbearing and too obsessed with their kids. The Jewish wives are simultaneously overbearing nags and prissy princesses. The non-Jewish women are somehow always cooler, more beautiful, crazy in a fun and quirky way instead of a shrewish one. Non-Jewish women might thirst after Jewish men and vice versa, but no one lusts after a Jewish woman.
Given that the entire concept of Nobody Wants This is a hot rabbi dating a shiksa, it should not surprise any readers that the issue of Jewish women is not solved in the third season. Yes, yes, the characters are all better developed; Esther, Noah’s sister-in-law (Jackie Tohn), who was once mean, is sort of endearingly cranky and wry, and they’ve started putting her in much better outfits. Noah’s mom, Bina (Tovah Feldshuh), is as overbearing as ever — in fact she actually acts even crazier than ever before — but she is much nicer to Joanne. But the Jewish women are still not good enough for the Jewish men. And this season, Joanne is converting, so she can even beat Jewish women at their own game.

Putting all that aside, however, the new season of Nobody Wants This is kind of delightful. And that was, in part, thanks to making this season far less Jewish, or at least less overtly focused on it.
That’s not to say it has no Jewish elements; Noah is still a rabbi, Joanne is, as mentioned earlier, converting in a class led by Sarah Silverman, who nails the role — unsurprisingly, given that her real-life sister Susan is a rabbi. But the conversion class is as focused on work drama than what everyone is learning about Judaism. Noah and Joanne have moved in together and have a housewarming party where they hang a mezuzah on their door frame, but the episode is more about Joanne’s ex who lives next-door. The couple tries out a tech-free Shabbat, but they spend it smoking weed, not walking to synagogue or otherwise doing anything particularly Jewish.
That turns out to be the season’s strength. It isn’t trying to demonstrate specifically Jewish family dynamics, nor does it shoehorn Jewish traditions into each episode. Instead, one plot line focuses on Noah’s attempt to navigate between his mom’s vision for his life, Joanne’s and his own — a universal topic, since parents across cultures feel deeply personally engaged in their kids’ major life events. Another storyline takes on dating, reinventing and moving on after a breakup, as Esther and Sascha, Noah’s brother, try to figure out coparenting, new hairstyles and what they really want out of life. (Though it feels odd, and like a bit of a plot hole, that Esther doesn’t seem to care about dating Jewish, even though she was very hostile to Noah dating a non-Jew in season one.)
Though Nobody Wants This has occasionally managed nice little sermonizing moments on the deeper meaning of various holidays or ideas, it has stumbled when it has tried to make Jewish Representation the show’s identity. Besides, Jews are diverse, both in religious observance level and cultural background. The show was doomed from the start if it was meant to be some sort of ur-text to represent American Jewish life in the 2020s; Jews aren’t a monolith, and design for everyone is bad design. A Syrian Jew was never going to feel seen, nor was a Modern Orthodox Ashkenazi.

In its third season, the show’s Judaism is about exactly what it is: a Reform L.A. rabbi and a woman who is (finally) converting for him. There’s an episode about Joanne’s last Christmas and her attachment to the holiday; Noah tries to make her final celebration of it the most festive one ever, and it’s a deeply sweet episode despite its total dearth of Jewish content. That’s a story worth telling, and something many converts likely feel, and a rabbi celebrating Christmas is also not the average Jewish experience.
There are, still, to be fair, plenty of issues. Noah cops to drinking coffee on Yom Kippur, which I think a lot of people will be upset about — a rabbi unable to properly observe the most holy day of the year? What’s wrong with these people? But now that the show doesn’t feel as though it’s trying to represent American Jews to the rest of the world, that seems less harmful.
Besides, the best Jewish TV has always been TV about Jews who are doing other things — Seinfeld or Broad City are no less Jewish for focusing on the general misadventures of young people living in New York. Jews live life outside of Judaism. In this season, Nobody Wants This hits its stride by giving up on clunky explanations of Judaism for the wider world; we barely see Noah at the bima. Instead of Jewish holidays, we see Christmas. Nobody Wants This was always, truly, a sweet rom-com about a guy who happens to be Jewish, and his girlfriend who happens to be converting. Nobody wanted a spokesperson in the form of a Netflix show anyway.
The post ‘Nobody Wants This’ is getting less and less Jewish appeared first on The Forward.
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Herzog calls for crackdown on violent West Bank settlers as olive harvest tensions mount
(JTA) — BUDAPEST, Hungary — Israeli President Isaac Herzog is backing senior Israel Defense Forces commanders in taking decisive action against violent settler attacks in the West Bank, he told the Jewish Telegraphic Agency.
His comments came a day before Israeli forces detained New York Democratic congressional candidate Brad Lander along with 90 rabbis and activists accompanying Palestinian farmers during the olive harvest.
At a press briefing in Budapest, JTA asked Herzog what action had been taken to curb settler violence following his previous calls for a stronger government response. Herzog pointed to a meeting he held earlier this month with the IDF’s West Bank division commander and other senior officers.
“I looked them in the eye and I gave them full backing to do whatever it takes to stop this terrible phenomenon,” he said.
The goal was to end the settler violence “at its roots,” Herzog said, adding that “major efforts” were underway.
Israeli police arrested 10 suspects following a series of settler attacks over the weekend, including a violent assault on Washington Post photojournalist Heidi Levine. Nine of those suspects were released from custody, Haaretz reported on Wednesday.
IDF Chief of Staff Lt. Gen. Eyal Zamir ordered the deployment of an additional Border Police company to the West Bank to combat extremist violence. The unit is expected to begin operations in late November.
Herzog had personally called Levine on Saturday to apologize for the attack, which left her with four broken vertebrae and other injuries. “I was morally tormented during Shabbat when I thought about it, and I express deep sorrow and apologize for what you went through,” he told her.
The attacks have drawn condemnation from the U.S. and European governments. On Sunday, the European Union called for Israel to take “full accountability” in preventing further violence against Palestinians, journalists and diplomats.
During his visit Tuesday, Herzog met with Hungarian President András Baka and Prime Minister Péter Magyar, whose government ended its predecessor’s opposition to EU sanctions against extremist Israeli settlers.
Herzog’s visit was the first by a senior Israeli leader since Magyar defeated longtime Prime Minister Viktor Orbán, a close ally of Israel and Prime Minister Benjamin Netanyahu, in April. At a joint appearance, Baka described relations with Israel as “cordial and stable,” while Herzog called Hungary a “friend and an ally.”
Asked later at the press briefing whether he had received a cooler reception than under Orbán, Herzog dismissed the suggestion, describing his meetings with both leaders as “fantastic.”
Pressed on Baka’s reference to the Palestinians, Herzog said the issue had been discussed “very politely” but had not dominated the talks, adding that it was “a perfectly legitimate subject to discuss.”
Herzog called the new prime minister “a brilliant person, a very impressive leader.”
The Hungarian leaders had “opened their hearts” to him, Herzog said, citing the attendance of several senior ministers at a lunch hosted by Magyar among other gestures that he said went beyond diplomatic protocol.
The visit also had personal significance for Herzog, whose father, former Israeli President Chaim Herzog, made the first state visit to Hungary by a sitting Israeli president in 1991, shortly after the restoration of diplomatic relations between the countries.
Herzog also addressed the closing gathering of Voice of the People, his initiative bringing together 150 Jews from Israel and the diaspora. He warned that combating antisemitism would be a “long-range battle” and stressed the need to engage millions of unaffiliated Jews.
“Ask the average Israeli – he has no clue about the diversity of Jewish life,” Herzog said, adding that many Jews in the Diaspora were similarly unfamiliar with Jewish life in Israel.
The post Herzog calls for crackdown on violent West Bank settlers as olive harvest tensions mount appeared first on The Forward.
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El-Sayed campaign hires Jewish liaison
(JTA) —
DETROIT – Abdul El-Sayed’s campaign for Michigan’s U.S. Senate seat has hired a Jewish liaison in the final weeks of the election season, part of a new push to swing undecided Jewish voters as the contentious race enters its homestretch.
Lenore Goldman is a veteran political consultant with Michigan ties whose work has included One Fair Wage, a national movement to raise the minimum wage that has prompted years of back-and-forth in the Michigan state legislature and courts.
She also consulted on Voters Not Politicians, a 2018 Michigan campaign that successfully passed a ballot measure to create a nonpartisan redistricting commission in the state. She has also consulted for Jewish groups, including the Jewish Community Federation of San Francisco.
Multiple figures close to the campaign confirmed her hire to the Jewish Telegraphic Agency on Wednesday. The El-Sayed campaign did not immediately make Goldman available for comment, but she has already been a presence at some local events staged by Jewish supporters.
News of her hire comes nearly two months after the Democratic candidate’s campaign first told JTA they were interviewing for a Jewish liaison position.
Goldman enters the campaign at a precarious moment for El-Sayed, who has struggled to win over skeptical Jewish voters in his tight race with his Republican opponent, former U.S. Rep. Mike Rogers.
Recent polls show a tight race, with El-Sayed holding a narrow advantage. A Marist poll released Wednesday put him ahead of Rogers, 50% to 48% among likely voters, within the survey’s margin of error.
Jews have bristled at the former county health director’s strong criticism of Israel, including when he stated earlier this week that the country is “not an ally.” They have also objected to his campaign’s prior association with left-wing streamer Hasan Piker, whose remarks about Jews have drawn accusations of antisemitism. El-Sayed has since distanced himself from Piker.
Some Jews have criticized El-Sayed’s initial remarks to this spring’s Temple Israel attack, which he has since apologized for. Rogers called his opponent “anti-Jew” in a JTA interview this week.
A new letter from El-Sayed to Jewish Michiganders is also being circulated as part of an effort to warm relations.
“I care deeply about the threat of antisemitism to our communities, and I am committed to protecting all Michigan Jews against hatred and injustice,” El-Sayed writes in the letter, which was shared on social media.
A spokesperson for the Michigan Democratic Party, which is named as a sponsor in the letter, did not respond to JTA requests for comment by press time. The El-Sayed campaign also did not respond to a request for comment about the letter.
Michigan Democratic U.S. Senate candidate Abdul El-Sayed meets with concerned Jewish voters during the state Jewish Democratic caucus’s “Summer Simcha” event, Birmingham, Mich., Aug. 30, 2026. (Andrew Lapin/JTA)
In the campaign’s final days, Jewish surrogates for El-Sayed are hitting the pavement hard. A new Jewish canvassing initiative led by the progressive voter-mobilization group Seed the Vote hopes to engage voters in an effort to boost support for El-Sayed. Seed The Vote is working with the Jewish advocacy groups Bend the Arc Action and IfNotNow.
Most of the Jewish canvassers have come from out of state. One Jewish Michigander who is canvassing, Ronit Wagman, said the activists have sometimes experienced hostility from Jewish households.
“People just don’t want to put themselves on a limb and open themselves up to name-calling,” Wagman, who lives in the Detroit suburb of Oak Park and has canvassed in the nearby, largely liberal town of Huntington Woods, told JTA. “So I’m not too surprised that local Jews don’t really want to door-knock.”
In her own family, Wagman said she has been an El-Sayed supporter for a while but that her parents “took some convincing” to vote for him.
The argument that worked on them, she said, was pulling back from the candidate’s remarks about Israel and the Temple Israel attack. Instead, she asked them to consider the prospect of how Jews would fare long-term under what she described as continued Republican attacks on “constitutional democracy and civil rights.”
“Ultimately, we talked about how Jews have been able to enjoy so much safety and security in America because of the protections offered to all people by our constitution,” she said. “And when you start to erode that, nobody is safe.”
Conversations like the Wagmans’ could prove the tipping point for a Jewish population that largely considers itself liberal but has often been troubled by El-Sayed. Jewish organizers for him have also staged a series of small-room meet-and-greets with progressive politicians who are either Jewish, or who have close ties to the Jewish community. These figures have made their own pitches for the senate candidate.
One of those surrogates, Jewish Illinois congressional candidate Daniel Biss, spoke at a Detroit private Jewish residence on Monday to about 50 people. Goldman was also present at the event.
Biss was targeted by far-left activists during his own primary this spring, some of whom accused the candidate of being AIPAC-aligned himself. In fact, he is backed by the liberal Zionist lobby J Street and he fended off millions in spending that the pro-Israel group dropped in favor of an opponent.
Yet Biss told JTA he had no qualms about supporting El-Sayed, some of whose followers have targeted Jewish Democrats in the state in similar fashion.
“I don’t think it is ever healthy to associate any leader with the ugliest thing that anyone who supports them does,” Biss told JTA. “I absolutely never saw anything like that from Abdul himself.”
He continued, “It is possible to fight for Jewish safety in America with a variety of different positions on foreign policy. I think if we don’t accept that, we make ourselves vulnerable unnecessarily.”
To the group, he also argued that some Jewish concerns regarding El-Sayed were misplaced, particularly concerns about his language around AIPAC, which spent heavily against El-Sayed in his primary.
The lobbyists also spent heavily against Biss in his own primary, and, according to Biss, are fair game for criticism because they employed pernicious tactics in hiding their ad spending and paying for ads that often obscure their pro-Israel motivations.
“To be a little bit cheeky, I would say you can’t perform an antisemitic trope and then accuse me of antisemitism when I describe the thing you just did,” Biss told the Jewish crowd.
AIPAC announced Wednesday that it would cease endorsing and soliciting donations for its preferred candidates, though its associated super PAC, United Democracy Project, would continue operations.
El-Sayed will campaign in Detroit this weekend with former President Barack Obama. He and Rogers face off in their final scheduled debate tonight.
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