Uncategorized
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.
—
The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.
Uncategorized
Stop Platforming Bigotry and Hate: We Can’t Build Bridges with Destructionists
US Rep. Alexandria Ocasio-Cortez (D-NY). Photo: Mike Jourdan/Flickr.
A society that cannot distinguish between a critic and a destructionist is a society in the process of dismantling itself.
For decades, the leaders of Western institutions — universities, legacy media, and political think tanks — have operated on the Liberal Consensus Model. This model assumes that every stakeholder, no matter how radical, ultimately wants a seat at the table to negotiate a better version of the status quo.
But we are currently witnessing the total collapse of this assumption. Institutions are mistaking a siege for a negotiation.
The “Destructionist” does not want a seat at the table; they want to use the wood for kindling. When an institution offers a “bridge” to someone whose starting premise is the dismantling of liberal democracy or the erasure of a people, they aren’t practicing “inclusion.” They are providing a tactical ramp for an assault.
This is not a “Left” or “Right” problem; it is a vulnerability of the center. Across the political spectrum, we see the same mechanics of “laundering” at work — where moderate leaders trade their institutional credibility for access to a radical’s megaphone.
On the left, we see the normalization of figures like Hasan Piker. When the “Pod Save America” crew or politicians like Alexandria Ocasio-Cortez (D-NY) treat Piker as a “bold youth voice,” they are signaling that his destructionist starting points — such as supporting the eradication of Zionism — are within the bounds of a reasonable democratic coalition.
They frame it as “outreach,” failing to realize that they are importing eliminationist rhetoric into the heart of the mainstream.
On the right, the rot is equally visible in the laundering of Tucker Carlson. When Kevin Roberts, President of the Heritage Foundation, or politicians like Vice President JD Vance defend Carlson even as he platforms Holocaust revisionists and Nazi apologists, they are breaking a decades-old covenant. By framing Carlson’s descent into conspiratorial bigotry as “challenging the establishment,” they are laundering a brand of hatred that was rightly ostracized from the movement generations ago.
In both cases, these “bridge-builders” suffer from a form of institutional narcissism: the belief that their own empathy or political utility is powerful enough to transcend a destructionist ideology. They believe they can negotiate a floor plan with an arsonist who has already lit the match.
It is common to lump these figures in with Joe Rogan, but the distinction is critical for understanding where our accountability must lie.
Rogan is a private citizen having a public conversation. While he causes undeniable material harm by uncritically platforming bigoted views –and we should absolutely pressure him to do better — he is fundamentally only representing himself.
Conversely, we must hold the Ezra Kleins, the Jon Favreaus, and the Heritage Foundations to a far higher standard because they represent institutions. When a gatekeeper stops guarding the gate on behalf of an institution, the gate ceases to exist. Rogan is a symptom of a culture that finds fire interesting; these institutional leaders are the architects who were supposed to be building the firewalls. Their failure is not just an error in judgment; it is professional malpractice.
The solution is not state-censorship, but a renewal of communal self-respect. We must re-learn the lesson of how we defeated the KKK: we didn’t “win the debate” at a shared seminar; we made the white hood socially disqualifying.
The path forward requires a two-fold strategy:
1. Enforce “Social Jail”
We must return to a model of principled ostracization. If your starting point is the destruction of a people or the subversion of the democratic covenant, you belong in “social jail.” This is not “cancel culture” — which often offers no path back — but a boundary. Social jail allows for repair. When an individual renounces the destructionist framework and demonstrably accounts for the harm they’ve advocated through public renunciation and restorative action, the door can be reopened. But until then, the line must be held.
2. Critical Friction vs. Laundering
Journalists and pundits must stop acting as facilitators. If they choose to engage with these figures, the “friendly engagement” model must be replaced with hostile exposure. You can interview an arsonist about why he likes fire, but you don’t hire him as a fire safety consultant.
The standard defense for this laundering is the phrase: “I don’t agree with everything he says.”
In the context of eliminationist bigotry, this is not a defense; it is a confession of moral cowardice — or at best, professional dereliction. To be a journalist or a civic leader is to have the courage to name the “tripwire.” If you platform a bigot, you have a professional obligation to state, explicitly, which of their hateful taboos you oppose. If you refuse to name the bigotry — if you treat it as a mere “difference of opinion” — you are not conducting an interview; you are providing a sanitation service.
We have spent years building bridges with people who are committed to destroying them. We have watched as they used those bridges to infiltrate our schools, our media, and our political parties.
It is time to stop being the architects of our own demise. If we cannot say “No” to those who wish to see our foundations destroyed, our “Yes” to progress and our democratic system will eventually mean nothing at all. We must stop exhausting our moral vocabulary on minor transgressions so that we have the collective clarity required to name the destructionists for what they are.
It is time to stop building the bridge and start holding the line.
Uncategorized
78 Years Later, the Palestinian Authority Still Dreams of Israel’s Demise
Lebanese President Joseph Aoun meets with Palestinian Authority President Mahmoud Abbas at the presidential palace in Baabda, Lebanon, May 21, 2025. Photo: REUTERS/Mohamed Azakir
As Israel celebrates the 78th anniversary of its Independence, the Palestinian Authority (PA) and its government-run media continue to promote the ideology that Israel has no right to exist and is a temporary “occupation” that will soon vanish.
Here are some examples that Palestinian Media Watch (PMW) has documented recently:
PA Jerusalem District Spokesman Ma’arouf Al-Rifai: “Ever since Allah created this land, we have continued to live here and defend it, we are the spearhead on defending these holy sites.
The occupation [i.e., Israel] is ultimately destined to disappear.” [emphasis added]
[Official PA TV, Individuals, Jan. 31, 2026]
Palestinian National Council member Dr. Shafiq Al-Talouli: “This state [i.e., Israel] is revealing the true face of the occupation that has stolen Palestine since 1948, and which relies on the same ideology of carrying out forced expulsion, and which strives through the use of force, committing massacres, starvation, and the like to remove the Palestinian people from its land.” [emphasis added]
[Official PA TV, Topic of the Day, Nov. 6, 2025]
Official PA TV programs, interviews, and documentaries repeat the ideology that Israel’s existence is temporary:
Official PA TV Israeli affairs “expert” Nizar Nazzal: “Palestine is the compass, and here the empires crashed down. Whether it was the Mongols, the Crusaders, or others. Therefore, these empires [i.e., Israe] too, here on the land of Palestine, will crash down.” [emphasis added]
[Official PA TV, Topic of the Day, Jan. 20, 2026]
The PA tells its people that Israelis, deep down, agree that Israel is doomed:
Official PA TV narrator: “Even in the depths of the Israeli public, there is an understanding that their presence here is temporary. The dual citizenship of the soldiers and settlers is not just a coincidence but rather an escape plan ready to be executed if the balance of powers changes.”
Jurist Sufian Siyam: “The Israeli knows in his subconscious mind that his existence on this land is temporary. …In 2006, there was an Israeli soldier named Gilad Shalit. We were surprised to discover later that Gilad Shalit has French citizenship … Israeli soldier Edan Alexander [a hostage captured and released during Hamas’ Oct. 7 war] has American citizenship. Why do the Israeli soldiers and Israeli civilians insist on having another citizenship besides Israeli citizenship? Because deep in his heart, his grandfather before him and his son after him knew that his existence on this land is temporary.” [emphasis added]
[Official PA TV, Time Without Ceasefire, Jan. 28, 2026]
Whether from PA officials or its state media, the message to Palestinians remains constant: Israel has no right to exist, Israel is temporary, Palestinians are permanent, and time will erase the Jewish State.
At the same time, the PA continues to demand Western governments fund this culture of hate and rejectionism while choosing to look the other way.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.
Uncategorized
PA Libel: Jewish Scripture Says Non-Jews Are ‘Pigs in the Form of Humans to Serve the Jews’
Palestinians shout slogans at the compound that houses Al-Aqsa Mosque, known to Muslims as Noble Sanctuary and to Jews as Temple Mount, following clashes with Israeli security forces in Jerusalem’s Old City April 15, 2022. REUTERS/Ammar Awad
In addition to its eliminationist rhetoric, the Palestinian Authority (PA)’s brainwashing of its people is ongoing and effective.
Palestinian Media Watch regularly documents that ordinary Palestinians echo the antisemitic and Nazi-like statements by PA leaders and officials. The PA portrays Jews as being “arrogant by nature,” and planning to “subjugate the entire world.” Palestinian citizens adopt and repeat these teachings.
Accordingly, anti-Israeli activists spread the libel that the Jewish Talmud teaches that non-Jews are “pigs in the form of humans [created] to serve the Jews”:
Anti-Israeli activist in the Jordan Valley Ayman Ghraib: “The colonialism began in the [Jewish] religious schools where the colonialists [i.e., Jews] were educated to hate the Arabs and Palestinians and everything that is not Jewish.
We have obtained booklets that contain an exact quote from the Talmudic text — that non-Jews are pigs that God created in the form of humans to serve the Jews … In their religious books it is written that Allah created this [olive] tree for the Jews … and if they cannot enjoy its fruits, they should burn it.” [emphasis added]
[Official PA TV, Crops, April 6, 2026]
The Talmud contains no such statement about non-Jews being pigs.
Even as Palestinians falsely accuse Jews of dehumanizing non-Jews, the PA itself portrays Jews as sub-human.
In the words of PA leader Mahmoud Abbas’ advisor, Jews are “grazing herds of humanoids … apes and pigs.” Recently, a Palestinian in Lebanon expressed a similar view, saying Jews are “pigs and donkeys”:
Lebanese singer and actor Abd Asqoul: “The enemy [Israel] is very stupid. He does not understand that it is impossible, regardless of what will be, there is something that lives inside us [Palestinians] … But this pig is not just a pig, he is a donkey who does not understand.
He thought my identity is a few papers and flour, and it escaped him that I am from the seed of heroes. .. My identity is land and rock and the sand of the beaches with shells and the blue color in their waters, from Rosh Hanikra [i.e., on Israel’s northern border] to proud Umm Al-Rashrash [i.e., Eilat, Israel’s southern border].” [emphasis added]
[Official PA TV, The Creativity of the Refugee Camp, Jan. 20, 2026]
The Palestinian Authority’s antisemitism also portrays Jews as the “enemy of humanity.” A Palestinian academic and former PA deputy minister stressed this recently, specifying that Jews are not only the “enemy” of Palestinians, but of all “humanity”:
Bethlehem University political science lecturer and former PA Deputy Minister of Jerusalem Affairs Sa’id Yaqin: “Jerusalem … is also the strongest symbol in this conflict, which is being waged with this enemy [i.e., Israel]. This is the enemy of humanity and not of the Palestinian people.” [emphasis added]
[Official PA TV, March 14, 2026]
The author is the Founder and Director of Palestinian Media Watch, where a version of this article first appeared.