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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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What we get wrong about how Germany has reckoned with its Nazi past
On a recent Freakonomics episode about the German film director Werner Herzog, host Stephen Dubner voiced a familiar assertion about postwar Germany’s confrontation with the Nazi past — an assertion shared by many Americans but one that is, in fact, a partial myth.
“It’s always impressed me,” Dubner said to Herzog, “the way that Germany, after the Second World War, assessed what had happened and in its schools and its institutions tried to come to grips with why and how, and to educate its successive generations.”
What’s wrong with this statement? At its core, it recycles a narrative crafted by the United States and its anti-Soviet allies during the Cold War — one designed for geopolitical purposes and carried into the 21st century.
Though it’s true that German schools have been admirably rigorous in teaching the history of the Third Reich and the Holocaust, and Germany has taken many other historic steps to make amends, German government agencies spent decades avoiding a full confrontation with their own past. Files documenting the depth of Nazi continuity within the postwar civil service were kept under lock and key well into the new century.
In my book, Nazis at the Watercooler: War Criminals in Postwar German Government Agencies, I reveal how West Germany hired seriously incriminated ex-Nazis for civil service positions and tell the story of a reckoning that took nearly six decades to begin — a chapter in Germany’s confrontation with its past that still receives too little recognition.
For decades, ministries shielded their records from public view. The first major breakthrough came in 2005, when Foreign Minister Joschka Fischer, appalled to discover that his ministry’s internal newsletter had been publishing glowing obituaries for diplomats implicated in Nazi crimes, established an independent team of historians to examine the Foreign Office archives. Their report, released five years later, documented not only the involvement of German diplomats in the machinery of the Third Reich but also the ease with which many resumed their careers in the West German state.
Over the past two decades, virtually every major German government institution has followed the Foreign Office’s lead — commissioning historians to examine old files and arriving at similarly disturbing conclusions. There was foot-dragging along the way; the Chancellor’s Office, the nerve center of the German government, did not release the findings of its own self-examination until last year.
These long delays raise a question that reaches beyond Germany. If a nation widely praised for its moral clarity took more than half a century to confront the actions of its institutions, what might that suggest about how the United States will one day confront the legacy of Donald Trump and the MAGA movement?
Of all the West German government agencies in the first postwar decade, none — with the exception of the foreign intelligence service — was a more welcoming harbor for ex-Nazis with blood on their hands than the Bundeskriminalamt, or Federal Criminal Police Office, a German version of the FBI known by its initials, BKA. The depth of this infiltration was exposed by Dieter Schenk, a security specialist at the BKA who quit over the West German government’s cozy relationships with right-wing dictators.
While at the BKA, Schenk heard hushed rumors about investigators with dark pasts. After resigning, he began to dig. He uncovered documents that exposed about two dozen of the BKA’s top employees who had served with Nazi units that committed war crimes and were never put on trial.
Schenk published his findings in a 2001 bestseller titled Auf dem rechten Auge blind: Die braunen Wurzeln des BKA (Turning a Blind Eye to the Right: The Brown Roots of the BKA). Several years later, the BKA commissioned its own panel of historians, who reached conclusions similar to Schenk’s. Their findings were published in 2011.
More inquiries followed.
Even the super-secretive Federal Intelligence Service, the BND, opened up about former SS officers who landed jobs at the West German spy agency, some with the assistance of American intelligence, despite having served in Nazi units that committed war crimes. One of the most stunning revelations was that in the late 1950s and early 60s the BND had on its payroll one of the most sought-after war criminals — Walter Rauff, hiding out in Chile.
Historians hired by the Justice Ministry found that in the late 1950s about half the senior employees had been card-carrying Nazis, including lawyers who attended meetings planning the Holocaust. A 2016 report documented how senior officials helped former Third Reich jurists paper over their pasts.
A 2018 Interior Ministry report exposed networks of ex-Nazi administrators who resumed their careers with the help of testimonials they wrote for one another. These testimonials were dubbed Persilscheine, or “Persil notes,” after a popular laundry detergent — making an ex-Nazi’s past appear as clean as fresh laundry.
One section of the report catalogues the excuses job candidates used to whitewash their wartime acts: They were coerced into joining the party; they needed a steady income; they had worked for the Third Reich to protect Jews; they were secretly in the resistance; they looked like loyal Nazis on the outside but hated Hitler on the inside. In the Interior Ministry’s culture department, researchers found that 43% of reviewed employees had concealed incriminating elements. They found no evidence that anyone was disciplined for lying.
Which brings us to Trump’s America.
America in 2026 and West Germany in the early postwar years are very different. The German democracy was just getting started; American democracy has existed for 250 years. Still, it would be a mistake to dismiss the German experience as offering no lessons. In the early 1950s, there was no certainty that the new German democracy would take root. In Trump’s America, there is no certainty that democracy will endure in the form we have known.
West Germany was still reeling from the war in the 1950s. A top priority of the victorious allies was capturing and punishing Nazi perpetrators — through the Nuremberg trials, denazification, and the imprisonment of thousands of soldiers and Nazi officials. But the populace rebelled against what they called “victors’ justice,” placing massive political pressure on Chancellor Konrad Adenauer. The United States and West Germany struck an unspoken bargain: suspending the pursuit of war criminals in exchange for Adenauer’s alignment with the United States and NATO in their emerging Cold War confrontation with the Soviet bloc.
Backing away from punishing Germans for the crimes of the Third Reich may have been a factor in the new democracy’s eventual success. But it came at a price. Adenauer was certainly no Nazi, but he was not above employing tactics reminiscent of those of the old regime — including using the foreign intelligence service to spy on his political opponents. And while an untold number of Germans complicit in Nazi abuses were able to resume their lives without consequence, including postwar civil servants who concealed their Third Reich misdeeds during the hiring process, their victims and victims’ families were never given the justice they deserved.
There will be a post-Trump era, but we have no idea what it will look like. What is clear is that calls for accountability are already accumulating — for corruption, for intimidating federal judges, for using the Justice Department to pursue Trump’s political enemies, for obstructing congressional oversight, and for violating migrants’ due-process rights in his sweeping deportation campaign, among other alleged abuses. The question is not whether a reckoning will be demanded, but how it might be pursued.
Like West Germany in its formative years, America will face difficult choices: whom to punish, how they should be punished, and how to keep the coming reckoning from deepening fractures within the country rather than healing them.
The post What we get wrong about how Germany has reckoned with its Nazi past appeared first on The Forward.
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Israel Warns Citizens in UAE to Keep Low Profile Amid Iranian Drone, Missile Strikes
Smoke billows from Zayed port after an Iranian attack, following United States and Israel strikes on Iran, in Abu Dhabi, United Arab Emirates, March 1, 2026. Picture taken with phone. Photo: REUTERS/Abdelhadi Ramahi
Israel’s National Security Council has urged Israelis in the United Arab Emirates to exercise extreme caution as Iran continues its campaign of drone and missile attacks across the country and broader Gulf region, warning that their safety could be directly at risk.
Jews and Israelis living in the UAE are being advised to avoid public events, synagogues, Israeli-linked businesses, and unnecessary gatherings, including at airports, unless holding a valid flight ticket.
Israeli authorities also instructed employees of companies linked to Israel to stay away from offices and facilities for their own safety.
As flights to and from the UAE remain unpredictable, travelers are strongly advised to avoid itineraries with layovers in the country.
The Israeli government confirmed that supplementary flights bringing Israelis home from the UAE are expected to conclude by Sunday, March 15.
As the war escalates, Iran is continuing to attack neighboring countries and regional interests of the US and Israel, launching waves of drones and missiles that have struck Gulf states, hit critical infrastructure, and forced heightened security measures across the Middle East.
While the US-Israeli campaign has destroyed much of Iran’s military capabilities, thereby reducing their rate of missile fire, launches are still occurring.
Iran has launched more than 1,800 drones and missiles at the UAE since the war began two weeks ago, the latter’s defense ministry said on Friday. While most of the projectiles have been stopped by interceptors and other defensive measures, six people have been killed and 141 have been injured, in addition to significant damage.
In an interview on Friday, UAE Minister of State Lana Nusseibeh urged Iran to cease its attacks on neighboring countries if it seeks a negotiated end to the conflict.
“Ultimately, it will be a diplomatic solution, but there needs to be that tipping point moment, and I think that [US President Donald Trump] will lead us all to that moment in his time,” Nusseibeh said.
“It is difficult to talk about mediation when under attack … Mediation can only happen when the guns go silent,” she continued.
Nusseibeh also expressed that the region was shocked by Iran’s “egregious, illegal, and unlawful attacks” on Gulf nations and Jordan.
According to her, Iranian officials gave no warning that the UAE would be targeted during talks in Tehran two weeks earlier, making the attacks “so shocking and so egregious.”
Iran claims its strikes target the US military presence across the Middle East — including bases in the UAE, Gulf states, Iraq, Jordan, and Turkey — framing them as retaliation for American actions in the region.
However, Iranian drones and missiles have struck key infrastructure, including Dubai Airport, major hotels, and the UAE’s financial hub, sending shockwaves through the region and triggering heightened security alerts across neighboring countries.
The UAE’s top diplomat warned that restoring relations with Iran to their pre‑war status would be nearly impossible, pointing to “the destruction and the chaos that Iran has caused in the region,” as evidence of the deepening regional crisis.
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Temple Israel was my home — and what I learned there can help us get through this difficult moment
Temple Israel has long been a staple of the Detroit Jewish community — and in many ways, it has been a cornerstone of my own life. My connection to that synagogue stretches back to my earliest musical memories.
My first voice teacher, in 8th grade, was the wife of Temple Israel’s cantor, Neil Michaels. As a teenager, I sang in their choir, the Teen T’filah Team, where I was first exposed to the music of the Reform movement and where I first experienced the use of instrumentation in services. It was there that I first learned the song Kehilah Kedoshah by Dan Nichols, a piece I now frequently sing with our own East End Temple choir. As a high school student, I even sang alongside the cantors there during High Holiday services. Throughout childhood I remained close with all three of Rabbi Paul Yedwab’s children, as we attended school together, were in theatre together, and travelled to Israel together.
Temple Israel is where my mother studied for her adult bat mitzvah which was officiated by Rabbi Harold Loss. And it was Temple Israel that took me on my first and second trips to Israel — experiences that profoundly changed the trajectory of my life, deepening and reframing my relationship with Judaism, and ultimately inspiring me to devote my life to the Jewish people. I still vividly remember our 2010 Teen Mission to Israel, led by Rabbi Josh Bennett. On that trip, I realized something transformative: that clergy could be more than just symbolic exemplars of a community, but also fun, adventurous, relatable, deeply present in the lives of young people, and powerful influences on their willingness to engage in Jewish life.
That trip had an unquantifiable impact on me. It was on that drive home from the airport that I decided Judaism needed to once again become a more central part of my life. Two weeks later, for my senior year of high school, I made what felt at the time like a radical decision: I transferred from West Bloomfield High School to the Jewish Academy of Metropolitan Detroit (now the Frankel Jewish Academy).
During that year, I began seriously exploring whether I might pursue a career in the cantorate. I arranged an off-campus internship that allowed me to compare and contrast the life and role of the cantor in both the Conservative and Reform movements. Once a week, I studied privately with Cantor Meir Finkelstein at my family’s Conservative congregation, Shaarey Zedek, and another day each week, I studied with Cantor Michael Smolash at Temple Israel. Aside from my internship, my favorite class that year was a course called Denominational Differences, co-taught by rabbis from the Orthodox, Conservative, and Reform movements — including two of my own beloved rabbis, Aaron Starr (Shaarey Zedek) and Josh Bennett (Temple Israel). In fact, that very subject eventually became the topic of my master’s thesis in cantorial school.
Needless to say, it is unlikely that I would be standing here today as your cantor were it not for the profound influence that the Metro Detroit Jewish community—and Temple Israel in particular—had on me throughout my childhood.
It is for this reason that yesterday’s news struck me so deeply. Learning of antisemitic attacks in the news is always painful and disturbing. Yet, as the frequency of these attacks across the globe becomes evermore pervasive, it’s difficult not to become slightly jaded or emotionally hardened — a natural coping mechanism to deal with ongoing trauma. People are not meant to live in a state of perpetual anxiety and hypervigilance.
But yesterday’s attack on Temple Israel shook me to my core. It is impossible not to experience antisemitism differently when it touches your own community. Realizing that one of my childhood synagogues was the target of a terrorist attack feels surreal. We know intellectually that terrible things happen in the world — but we rarely expect them to happen to us. We must, therefore, remain forever mindful that tragedy is always personal to someone.
Even amid this frightening event, I am profoundly grateful for the brave security personnel at Temple Israel — especially their director of security, Danny — who quite literally put his life on the line to protect everyone inside the building, including the 106 preschool children and teachers who were in class at the time. We pray for the swift and complete physical and emotional healing of those officers, and we hold them in our hearts. It is truly miraculous that no civilians were injured during this attack. And the outpouring of support from the broader Metro Detroit community has been extraordinary — especially from our non-Jewish friends and neighbors who did not hesitate to help in our time of need.
We are particularly grateful to the Chaldean (Iraqi-Christian) community who opened their homes and businesses to shelter those fleeing the scene. The Chaldean-owned Shenandoah country club, museum, and cultural center across the street immediately welcomed and protected those seeking refuge. The fact that Shenandoah — the largest Chaldean community center in the United States — stands directly across the street from Temple Israel — the largest Reform synagogue in the United States — is no coincidence. It reflects the deep personal and communal ties between our communities.
When I was a student there, West Bloomfield High School was comprised of roughly one-third Jewish and one-fifth Chaldean students. Our communities shared classrooms, neighborhoods, friendships — and often cultural similarities. Both Jews and Chaldeans are Middle Eastern peoples whose identities weave together religion, culture, and ancestry. Both communities carry histories shaped by persecution and resilience. Both place profound emphasis on family, education, and tradition. In fact, back home I became somewhat known as the Chaldean community’s Jewish wedding singer, singing at numerous Chaldean churches as the bride walked down the aisle.
In moments like this, we see those shared bonds revealed in the most powerful of ways. I have no doubt that from this tragic incident something meaningful will emerge: our communities will grow stronger, more resilient, more deeply connected, and even more outspokenly proud of our identities. Hatred seeks to isolate and intimidate, but solidarity, courage, and compassion remind us that we are never alone. When neighbors protect neighbors, when communities stand together in the face of fear, we transform even the darkest moments into opportunities for unity, strength and hope.
Olivia Brodsky is the cantor and co-clergy of East End Temple in Manhattan.
The post Temple Israel was my home — and what I learned there can help us get through this difficult moment appeared first on The Forward.
