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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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South Korean President’s Holocaust Remarks Spark Outcry From Israel, Controversy at Home
South Korean President Lee Jae Myung speaks during his new year press conference at the presidential Blue House in Seoul, South Korea, Wednesday, Jan. 21, 2026. Photo: Ahn Young-joon/Pool via REUTERS
South Korean President Lee Jae Myung has sparked a diplomatic row with Israel and criticism at home after comparing Israeli military actions against Palestinians to the Holocaust in a post on social media platform X.
The controversy began on Friday after Lee said “wartime killings” by the Israel Defense Forces were “no different from the Jewish massacre” by the Nazis in World War Two, and reposted footage with a caption that said it showed Israeli troops had tortured and thrown a Palestinian from the roof of a building.
Israel‘s Foreign Ministry said in a post on X on Saturday that Lee “for some strange reason, chose to dig up a story from 2024.” It said the incident occurred during an IDF operation against what it called “terrorists” and had been thoroughly investigated.
The ministry accused Lee, who had said that he needed to verify the footage, of the “trivialization of the massacre of Jews on the eve of Holocaust Remembrance Day in Israel,” saying his remarks were “unacceptable and warrant strong condemnation.”
Israel marks Yom HaShoah on Monday remembering the six million Jews murdered by the Nazis.
The Israeli military said in 2024 it was investigating the incident in the videos and described the actions as serious and not in keeping with its values.
Friday’s comments are a rare instance of Lee discussing international politics on social media and come as his government navigates a surge in energy prices following US and Israeli strikes against Iran. Tehran has closed the Strait of Hormuz to tanker traffic and South Korea is one of the world’s largest importers of oil and gas.
Lee did not mention the Iran war in his posts but said that South Koreans were today feeling “immense pain and national hardship.”
The president later on Saturday said it was “disappointing” that Israel criticized his comments and that it was natural to feel sorry if someone was suffering.
South Korea’s foreign ministry later said it was regrettable Israel “misunderstood” Lee’s remarks, which were about universal human rights.
Lee’s comments also proved controversial at home.
South Korea’s conservative party hit out at Lee for failing to speak more prudently and said he was showing double standards for his silence on human rights abuses in North Korea, while Lee’s Democratic Party praised him for speaking out on the universal value of human dignity.
The mainstream Joongang Ilbo newspaper said on Monday Lee would be well advised to recognize the weight of a president’s remarks and the risk of misunderstanding from unfiltered comments on social media, especially in sensitive global disputes.
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US Begins Blockade of Iran’s Ports, Tehran Threatens Retaliation
A billboard with a graphic design about the Strait of Hormuz on a building in Tehran, Iran, April 13, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
The US military began a blockade of ships leaving Iran’s ports on Monday, President Donald Trump said, and Tehran threatened to retaliate against its Gulf neighbors’ ports after weekend talks in Islamabad on ending the war broke down.
A US official said there was continued engagement with Iran, and forward motion on trying to get to an agreement. Pakistani Prime Minister Shehbaz Sharif also said efforts were still under way to resolve the conflict.
But oil prices climbed back over $100 per barrel, with no sign of a swift reopening of the Strait of Hormuz to ease the biggest ever disruption in supplies and broader concerns over the durability of a two-week ceasefire agreement reached last week.
Trump said Iran had been in touch on Monday and wanted to make a deal but that he would not sanction any agreement allowing Tehran to have a nuclear weapon.
“Iran will not have a nuclear weapon,” Trump told reporters at the White House. “We can’t let a country blackmail or extort the world.”
Since the United States and Israel began the war on Feb. 28, Iran effectively shut the Strait of Hormuz to all vessels except its own, saying passage would be permitted only under Iranian control and subject to a fee.
Trump has said Washington would block Iranian vessels and any ships that paid such tolls and that any Iranian “fast-attack” ships that went near the blockade would be eliminated.
Brigadier General Reza Talaei-Nik, a spokesperson for Iran’s Ministry of Defense, warned that foreign military efforts to police the strait would escalate the crisis and instability in global energy security.
NATO allies including Britain and France said they would not be drawn into the conflict by taking part in the blockade, stressing instead the need to reopen the waterway, through which about one-fifth of the world’s oil normally passes.
CEASEFIRE UNDER STRAIN
The ceasefire that halted six weeks of US and Israeli airstrikes looked in jeopardy, with only a week left to run. Washington said Tehran rejected its demands at weekend talks in Islamabad, the highest-level discussions between the two nations since Iran’s 1979 Islamic Revolution.
The US military’s Central Command said the blockade would be “enforced impartially against vessels of all nations” entering or leaving Iranian ports in the Gulf and Gulf of Oman.
“The blockade will not impede neutral transit passage through the Strait of Hormuz to or from non-Iranian destinations,” Central Command said in a note to seafarers seen by Reuters on Monday.
Two Iranian-linked tankers, the Aurora and New Future, left the strait laden with oil products on Monday before the deadline, according to LSEG data.
An Iranian military spokesperson called any US restrictions on international shipping “piracy,” warning that if Iranian ports were threatened, no port in the Gulf or Gulf of Oman would be secure. Any military vessels approaching the strait would violate the ceasefire, Iran’s Revolutionary Guards said.
Trump said Iran’s navy had been “completely obliterated” during the war, adding that only a small number of “fast-attack ships” remained.
“Warning: If any of these ships come anywhere close to our BLOCKADE, they will be immediately ELIMINATED, using the same system of kill that we use against the drug dealers on boats at Sea. It is quick and brutal,” Trump, much of whose communications are on social media, wrote on his Truth Social site.
He was apparently referring to the US strikes carried out against suspected drug boats in the Caribbean and Pacific. The strikes, which began in September, killed more than 160 people.
LEBANON FACES ATTACKS
Trump has also lashed out at US-born Pope Leo, who has spoken out against the war, denouncing him as “terrible” in a rare direct attack by a US president on a pontiff.
With rising energy prices causing political blowback, Trump paused the US-Israeli bombing campaign last week after threatening to destroy Iran’s “whole civilization” unless it reopened the strait.
Israel has continued to bombard Lebanon and on Monday Israeli troops launched an attack it said was intended to seize a key south Lebanon town from Iran-backed terrorist group Hezbollah. Israel and the US have said the campaign against Hezbollah was not part of the ceasefire, while Iran has insisted it is.
Iran has brought new demands, including recognition of its control of the waterway, lifting of sanctions, and the withdrawal of forces from US military bases across the Middle East.
Trump has declared victory, despite so far not fully achieving the objectives he set out at the start of the war: to eliminate Iran’s ability to strike its neighbors, end its nuclear program, and make it easier for Iranians to topple their government.
Benchmark oil prices, which had eased last week after the ceasefire was announced, traded around 6% higher on Monday, off the day’s peaks but still above $100 a barrel.
Traders say the main benchmarks – used to set prices for trillions of dollars’ worth of commodities worldwide – actually understate the severity of a disruption with no precedent in modern times.
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For Another Year, BU’s Conference on Jewish Left Only Platforms Anti-Zionism
Peter Beinart, a prominent anti-Israel writer, being interviewed in January 2025. Photo: Screenshot
Academic conferences should foster inquiry, test ideas, and widen intellectual horizons. The third annual “Jewish Conference on the Left” held at Boston University (BU) last month was certainly presented in those terms. However, as time went on, it became clear that something else was afoot: Anti-Zionism framed as academic exploration, and a social structure encouraging the marginalization of Jewish students who fail to conform to their narrow and bigoted politics.
The gathering took place on BU’s main campus, reinforcing the perception that the conference’s ideology sits comfortably within the university’s academic culture.
The conference, which I attended, was dominated by anti-Zionist speakers, such as Peter Beinart, Fadi Quran, Dove Kent, and Arielle Angel. Beinart advocates for the dissolution of a Jewish-majority state, insisting Jews revert to once again existing as a vulnerable minority everywhere. Quran associates with the BDS movement. Kent’s org “Diaspora Alliance” rejects the IHRA Working Definition of Antisemitism definition. Angel is an ardent anti-Zionist. These are not neutral voices. They are activists representing an ideology that is effectively hostile to the idea of Jewish civil rights in our ancestral homeland. Several statements during the conference illustrated this bait and switch from policy debate to brazen indoctrination.
Numerous statements were made attacking Zionism and any Jews who believe in Israel’s right to exist. Neither the crowd, nor any other panelists, bothered to push back. Their only response was applause. It felt more like a political rally than a serious discussion on scholarship.
Unsurprisingly, there were no pro-Zionist leftist perspectives, not even modest discussions about classic topics like two-state coexistence. There were no voices articulating how Jewish self-determination might co-exist with Palestinian statehood. There was only delegitimization, double standards, and dehumanization of Zionists and Israel masked by reasonable-sounding language and boilerplate euphemisms.
The organization fair held at BU only hosted radical left groups including Jewish Voices for Peace and IfNotNow. Tables included various infographics urging the IHRA definition be banned from schools, BDS graphics, comparisons between ICE and Nazi Germany, banning the ADL from schools, among others.
Clearly there was no room for dissenting views on the podium, and I observed the same mentality among its audience. At one point, I was berated by a stranger: “Shame on you for not clapping, you can’t even show respect for Fadi Quran.”
While I did not overtly present myself as a Zionist, I also did not mask my beliefs. Throughout my many conversations, I was repeatedly quizzed about my personal and professional background, as if my fellow attendees were actively looking for a reason to dismiss my position. Suspicion was immediate and hovered over every conversation whenever I questioned the status quo.
This is how ideological capture operates. It does not require formal censorship, all it needs is a couple of slogans and some bullies.
When a conference is promoted under the language of scholarly exploration to students and presents itself as an all-encompassing gathering of “Jewish left values,” the university’s association becomes part of the message.
For students who identify as both Progressive and Zionist, events like these reinforce the idea that there is no place for them. Many already navigate campus environments in which Zionism is treated as morally suspect. Student government resolutions single out Israel. Activist rhetoric regularly distorts Zionism into a kind of racism or colonialism. Institutional repetition normalizes and enables these intellectual boundary-breakers.
If Boston University intends to uphold its mission toward promoting intellectual diversity, it should clarify the distinction between providing space and conferring academic legitimacy. If organizers are truly acting in good faith, they should at least try to ensure that their conferences reflect the actual diversity within that tradition, or otherwise rebrand.
After three consecutive years of hosting this conference, the issue is no longer whether individual speakers have the right to present their views. They do. The question is whether a major university should repeatedly platform a singular ideological current while presenting it as representative of a broader intellectual tradition.
Melody Kaye is a Boston-based Campus Advisor for CAMERA.