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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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How the New Palestinian Authority ‘Constitution’ Could Lead to Endless War
French President Emmanuel Macron welcomes Palestinian President Mahmoud Abbas at the Elysee Palace in Paris, France, Nov. 11, 2025. Photo: REUTERS/Benoit Tessier
When then-Palestinian Authority (PA) leader Yasser Arafat walked away from Israeli peace deals in 2000 and 2001, his main pretext was reportedly a refusal to compromise over the Palestinian demand for a so-called “right of return” to pre-state Israel for Palestinian refugees of 1948 and their descendants.
In 2004, the UK newspaper Al-Quds Al-Arabi published an account of an associate of Arafat that confirmed this:
I admit that I was very close to the Palestinian president, Yasser Arafat, but the period when I was close to him was at the height of his lean years, particularly the period of the first Gulf War and after it … President Arafat was not willing to sign a permanent agreement with the Hebrew state, because he knew full well that that agreement would put him among the traitors in the annals of history, as it [the agreement] would be at the expense of conceding the right of return and most of the sovereignty over East Jerusalem. [emphasis added]
[Al-Quds Al-Arabi newspaper (UK), Nov. 19, 2004]
This was corroborated by a White House insider as well:
Professor Alan Deshowitz: I can tell you that President Clinton told me directly and personally that what caused the failure of the Camp David-Taba accords was the refusal of the Palestinians and Arafat to give up the right of return. That was the sticking point. It wasn’t Jerusalem. It wasn’t borders. It was the right of return.
[Debate, Harvard’s Kennedy School of Government, Nov. 29, 2005]
As Palestinian Media Watch has documented, the PA’s leaders endlessly cite UN General Assembly Resolution 194 as though it were some kind of instrument of “non-negotiable rights” under “International law”:
Mahmoud Al-Habbash: “It is the right of Palestinian refugees, according to Resolution 194 published by the UN in 1948, to return to the villages and cities from which they were expelled. This is an authentic and non-negotiable right.
The right of return and compensation is an authentic right of the Palestinian refugees. We say that the solution to this issue will be implemented based on Resolution 194 published by the UN. There may be agreements here and there, but the basis for solving this problem is Resolution 194, which concerns the return of refugees and compensating the refugees for the suffering and leaving their towns, cities, and villages, from which they were forcibly and violently expelled in 1948 during the Palestinian Nakba.” [emphasis added]
[Mahmoud Abbas’ Advisor on Religious Affairs and Islamic Relations Mahmoud Al-Habbash, YouTube channel, Sept. 23, 2025]
However, there is no “right of return,” which is not a right at all. Palestinians distort Resolution 194’s interpretation and mask their intent behind their demand for it — which is to demographically erase the Jewish majority in Israel in the PA’s vision of a “two-state” outcome. Moreover, like all UNGA resolutions, Resolution 194 was non-binding.
Currently, the Palestinians are in the process of drafting a “constitution” that aims to tie the hands of future Palestinian leaders who might make peace with Israel in a variety of ways, but specifically by making the right of return part of Palestinian law and thus make any concession on the “refugee” issue unconstitutional.
The PLO Department of Refugee Affairs, in cooperation with the Center for Refugee Policy Research, held a dialogue meeting under the title “Draft Interim Constitution of the State of Palestine for 2026: Constitutional Approaches and Strengthening Refugee Rights in Light of the Current Challenges.” The meeting discussed the status of the refugee issue and the right of return in the draft interim constitution.
The meeting was attended by PLO Executive Committee members Ahmad Abu Houli, Ahmed Majdalani, and Bassam Al-Salehi. Also present were representative of the Constitution Drafting Committee Ammar Dwaik, secretary of the Constitution Committee Mounir Salameh, and Secretary-General of the [PA] Parliament (Legislative Council) Ahmed Abu Hashish.
The participants noted that the PLO, as the sole legitimate representative of the Palestinian people, holds the original and sole authority in handling the refugee issue, and that this issue and the right of return are at the core of the Palestinian cause. They also emphasized that the right of return is a non-derogable and inalienable ‘supra-constitutional right.’” [emphasis added]
[Official PA daily Al-Hayat Al-Jadida, March 27, 2026]
“Non-derogable,“ you could say, is not a household word. It is, however, terminology lifted from the International Covenant on Civil and Political Rights (ICCPR). It describes a fundamental human right that cannot be suspended, restricted, or taken away by a government under any circumstances — even during times of war, public disaster, or a state of emergency.
This is far from the only problematic aspect of the emerging “Palestinian constitution” — an attempt to graft the Palestinian war against Israel’s existence into the core identity of any potential future Palestinian state.
It’s but one more compelling argument why a PA-Palestinian state would be a disaster for the world. It would not bring peace, but guarantee endless war.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.
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The BBC Tried to Blame Israel — But Exposed Hezbollah Instead
People walk past a billboard portraying the late Hamas leader Yahya Sinwar at the site of a rally held by protesters, mainly Houthi supporters, to show support to Lebanon’s Hezbollah and Palestinians in the Gaza Strip, in Sanaa, Yemen, Oct. 18, 2024. Photo: REUTERS/Khaled Abdullah
It is well established that Hezbollah has not only turned southern Lebanon into a base for terrorism targeting Israel, but has also embedded itself deep within Beirut’s civilian suburbs.
Yet when the BBC reports from those same areas, it appears determined to obscure that reality.
That may not be surprising. As HonestReporting previously documented, Hezbollah tightly controls access and information available to foreign journalists. What reporters see — and therefore what international audiences are shown — is often filtered through Hezbollah’s interests.
When a Sky News crew reported from Lebanon earlier this year, journalists openly acknowledged the restrictions imposed on them. Hezbollah limited where they could go and what they could film following Israeli airstrikes, likely to conceal evidence of terrorist activity.
So when BBC reporters arrive in Lebanon two months later and somehow fail to find evidence of Hezbollah’s presence, it is hardly coincidental.
The “investigation” — titled, “BBC traces how 10 minutes of Israeli bombing brought devastation to Lebanon” — attempts to portray Israel as deliberately targeting Lebanese civilians.
But the report itself repeatedly undermines that narrative.
The very case study the BBC highlights gives the game away.
In Beirut’s Hay el Sellom suburb, a BBC journalist interviews Mohammed, whose son Abbas was killed in an Israeli airstrike on an apartment building in April 2026.
Mohammed claims that had he known Hezbollah operatives were nearby, he would have left. But that admission directly undermines the BBC’s broader framing.
It reinforces the reality that Israel’s operations are linked to Hezbollah’s presence, not random or indiscriminate attacks against civilians.
Another interviewee claims Israel is bombing Lebanon in an attempt to “take over” the country.
Yet the report’s own details point to something else entirely: a campaign directed at Hezbollah infrastructure and operatives in an effort to restore security along Israel’s northern border.
According to the IDF, the April 8 strikes that reportedly killed Abbas also targeted more than 250 Hezbollah terrorists.
Ironically, while touring the suburb, the BBC journalist also filmed martyr posters of Ali Mohammed Ghulam Dahini, reportedly killed in the same strikes — corroborating Israeli media reports identifying him as a Hezbollah operative.
Yet the BBC still avoids acknowledging the obvious implication: these strikes were targeting Hezbollah personnel embedded within civilian areas.
Civilian deaths in war are tragic. But tragedy alone does not determine intent.
Under the laws of armed conflict, counterterrorism operations require assessing proportionality — weighing anticipated military advantage against potential civilian harm. In each example highlighted by the BBC, evidence of Hezbollah’s presence at the strike locations is difficult to ignore.
The report itself notes that Mohammed expressed support for Hezbollah in Arabic-language interviews, praising the group for “defending Lebanon.” But Lebanon would not require “defending” from repeated wars had Hezbollah not transformed civilian neighborhoods into military infrastructure.
The BBC acknowledges that Mohammed gave pro-Hezbollah views when speaking to local media. Yet Mohammed presents himself differently to international English-speaking audiences. That discrepancy raises an obvious question: why?
The answer may lie even closer to home.
Investigative journalist David Collier revealed that Mohammed’s son, Abbas Khair al-Din, was himself affiliated with Hezbollah, citing martyr posters and Hezbollah imagery at his grave.
Had the BBC acknowledged these Hezbollah ties, its central framing — that Israel was recklessly targeting civilians — would have become far more difficult to sustain.
This is not the first time the BBC has minimized or erased Hezbollah’s presence in Lebanon.
By omitting Hezbollah’s systematic use of civilian infrastructure, the outlet constructs a narrative in which responsibility falls almost exclusively on Israel while Hezbollah’s role fades into the background.
Most remarkably, despite the evidence presented throughout the report, the BBC still repeats Hezbollah’s denial that it embeds itself among civilians.
The contradiction is striking: the BBC’s own reporting repeatedly points to Hezbollah activity within civilian areas, yet the outlet still amplifies Hezbollah’s denials with minimal scrutiny.
Not all Lebanese civilians support Hezbollah. But the BBC’s inability — or unwillingness — to feature meaningful Lebanese criticism of the terrorist organization reveals how selective the report truly is.
Hezbollah has effectively held Lebanon hostage, exploiting civilians while dragging the country into repeated cycles of conflict.
There is genuine dissent within Lebanon. Many Lebanese are exhausted by Hezbollah’s dominance and want a future free from perpetual war. Yet those voices are almost entirely absent from the BBC’s report.
The BBC intended its report to portray Israel as conducting a campaign against Lebanese civilians.
Instead, it inadvertently documented something else entirely: Hezbollah’s deep entrenchment within civilian infrastructure.
The report repeatedly presents evidence of Hezbollah activity, Hezbollah support, and Hezbollah-linked individuals in the very locations Israel targeted — while simultaneously attempting to deny or downplay the implications.
When media outlets obscure Hezbollah’s use of civilian areas, they do more than distort the story. They sanitize the conditions Hezbollah itself created. And in this case, the BBC’s own reporting ultimately undermines the narrative it set out to build.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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When it comes to Israel/Palestine, everyone is sure that everyone else is a bigot
Welcome to the Great Hardening, in which Zionists and Anti-Zionists have each decided that the other side is made up of Nazis.
Literally.
For many on the Hard Left, all Zionists are Genociders. Doesn’t matter if you’re in Standing Together or Smol Emuni — Zionism is settler colonialism and entails genocide. And on both the Hard Right and what I have come to call the Hard Center, Anti-Zionists are Antisemites. Doesn’t matter if you’re Jewish, or even a rabbi — all anti-Zionism, and even strong criticism of Israel, is antisemitism and thus bigotry.
As is typical of this decade of purity politics, each side embodies their rigidity by excluding the impure from the camp, as Leviticus 13:46 commands. On the Hard Left, some of my own progressive communities now explicitly ban “Zionists” (as they understand the term) from participation — at one event, a community meeting was halted because one person identified themselves as Israeli. Israeli DJs, including some who are vocally critical of Netanyahu and others who have “renounced their Israeliness,” have been banned at venues in London, Belgium and New York. Radical inclusion does not include “genociders.”
The Hard Center is equally uncompromising, defining its political opponents (often including liberal Zionists) as bigots who must be defeated, deplatformed and delegitimized. Anti-Zionist Jews aren’t even Jews, they say, and the term “genocide” is a blood libel. I have seen this firsthand as well; since daring to consider whether the term might apply to Gaza, I have not been invited as a scholar in residence or keynote speaker by a single mainstream Jewish organization. Meanwhile, leading institutions of the New York Jewish community now platform centrist or right-wing speakers exclusively, including at religious events happening next week.
On the Left, Right and Center, I have seen artists, academics, writers and musicians de-platformed for not condemning Israel, not condemning Hamas, mentioning Oct. 7, not mentioning Oct. 7, or issuing one’s condemnations without invoking the appropriate shibboleths. And, like the Levitical tzaraat, wrong views are contagious. If you fail to condemn someone who fails to condemn Israel, or Hamas, or antisemitism, or the occupation, then you are condemned.
As Shaul Magid has recently written, the limits of pluralism seem to have been redefined — and tightened. American Jews can accommodate disagreement on theology, halachic observance, intermarriage, LGBTQ inclusion and American politics — but not Israel. Magid himself was recently informed by a synagogue that “no one who is not a Zionist is permitted to speak from the pulpit.” (He identifies as a post-Zionist.) Meanwhile, students who privately protested the choice of Israeli President Isaac Herzog to speak at the JTS graduation had their jobs and livelihoods threatened as a result.
I know that there are many of us who feel caught between the Hard Left and Hard Center (and aren’t engaged with the Hard Right). Present company included, we are exhausted by all the shouting and shadow-banning. Is there nothing we can do about this? Is it just the new normal?
I want to make a case for a softening of the Hard Places — but I admit to some pessimism, because doing so may require a rethinking of what political arguments are really about. And the prescription I offer is thus, well, a little “soft.”
By which I mean: It addresses the real sources of all this hardening, which are emotional, and even spiritual. I mean a softening of the hard walls — built out of certainty, rage, and trauma — that demarcate the boundaries of pure and impure.
I don’t mean resolving our disagreements or pretending they don’t matter. They do matter. I also don’t mean centrism; writing this article, I took one of those online political quizzes and on a scale of 100, with 100 being the most conservative, I scored 15 on economic issues and 10 on social issues. That’s not the center.
What I mean is that our responses to these disagreements are not a matter of political ideology, but of more primal, instinctual drives. Consider: When someone says something you find strongly objectionable, how do you feel, physically? Often the response is physical disgust — like our Israelite ancestors, we want to put the defilement outside the camp. This is not an accident: Neuroscientists tell us that moral disgust activates the same parts of the brain as physical disgust. Which makes sense evolutionarily — it’s safest to keep the contaminant far away — but which affects how we tolerate dissent and disagreement in our midst. Often, we are repulsed by it.
Or consider this: Take a moment to reflect on how you feel — psychologically, tribally, morally, physically — about (take your pick) Israel or Palestine. Speaking for myself, I grew up loving Israel. Even before I visited it (in 1987, on a USY teen trip), I understood that it was the only place where I could feel fully at home. My group was in the majority. I could eat in all the restaurants. And I hated anyone who hated it. I had no space, intellectually or emotionally, for their narrative of 1948. And I still, to this day, have a love for the land and culture of Israel, where I lived for three years.
Is it not obvious that, when we love a person or place or country, we might be biased toward it?
Or maybe you’re on the other side of the emotional-political spectrum. Maybe you are in communities or close relationships with Muslims, Arabs, or others who have family directly impacted by Israel’s actions in Gaza, the West Bank, Lebanon, or Iran. Maybe you have seen videos or movies of atrocities in those places — of innocent children dead or maimed, of entire cities flattened by a supposedly defensive war. So of course you have emotional as well as political responses; you wouldn’t be human if you didn’t.
No wonder the Left and Center are putting up walls. They are in pain. And, as the saying goes, hurt people hurt people.
This is why nationalists never want to see the suffering on the other side. The cognitive and emotional dissonance is unbearable. The people you love have done horrible things. The enemy is not entirely evil; in fact there are many innocent people who have suffered. Their blood, too, cries out from the ground.
Now can you reread the preceding paragraph from the other ‘side’? Maybe the real sides aren’t Israel and Palestine, but Coexistence and Violence.
If these last few paragraphs sound a little ‘soft’, that is the point. Paraphrasing Rev. Dr. Martin Luther King, Jr., hardness cannot drive out hardness. Only softness can do that: coming to see our own pain, sharing vulnerability and uncertainty, and understanding that questions of Palestine and Israel are as emotional as they are political, for all sides of the debate, including the center and right.
I am not naïve here, which is why I am pessimistic. I know, obviously, that the Hard Left, Hard Right, and Hard Center are composed precisely the people least interested in processing our grief or leading with vulnerability. But that doesn’t mean their trauma isn’t there. They’re just enacting it unconsciously rather than consciously.
They may seem like the strong ones, but they are not strong enough to face their own pain.
But doing this kind of inner work is not impossible; I have seen it work in my own life. And then seeing multiple narratives, cultivating intellectual humility, and recognizing that, in fact, there are coherent worldviews on all sides — all that becomes the easy part. When it comes to Israel/Palestine, I have Socialist and Jewish Voice for Peace friends whom I regularly consult for their takes, and I have Security Hawk and Soft Center (by which I mean: sad that coexistence seems impossible, but not hardened or nationalist) friends with whom I do the same. It works because we have been friends for a long time, and when we have argued intensely in the past, there’s been time to let the anger cool. We are invested in one another as people, not as bearers of positions. And when I see myself getting triggered, I step back from the brink.
Maybe we need a change of Jewish metaphor, away from Leviticus and its lepers, and toward the Talmudic sages and their modeling of constructive disagreement. Sincere debate, they said, is l’shem shamayim — for the sake of heaven. And when the disagreement cannot be resolved, elu v’elu divrei Elohim Chayim; both views are the words of the living God. The sage Rabbi Meir even continued to learn from Elisha Ben Avuyah after he committed apostasy.
These rabbis were not softies; they resisted imperialism, created a new form of religious life, and probably saved the Jewish people. Many of them were martyred. And yet they were ‘soft’ in the best ways: They were emotionally, spiritually and intellectually permeable, and, though still limited by their culture in many ways (sexism, for example), they were able to live in community even while strongly disagreeing with one another.
Can we?
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