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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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Hillary Clinton Warns Youth Being Misled by ‘Totally Made Up’ Narratives About Gaza, Israel
Former US Secretary of State Hillary Clinton speaks on the first day of the 2024 Clinton Global Initiative Meeting at the Hilton Hotel in New York City, US, Sepy. 23, 2024. Photo: MediaPunch/INSTARimages via Reuters Connect
Former US Secretary of State Hillary Clinton issued a stark warning this week, arguing that young Americans are increasingly turning against Israel because they are consuming misleading and often fabricated social-media content about the Gaza war.
Speaking at an Israel Hayom summit in New York, Clinton said that young people were being influenced by “totally made up” videos depicting alleged Israeli actions in Gaza, many of which she claimed were nothing more than stylized pro-Hamas propaganda.
Clinton noted that more than half of young Americans now receive their news primarily from platforms such as TikTok and Instagram, where short, highly sensationalized clips often spread faster than verified information. She warned that these platforms prioritize emotion over context, leaving users vulnerable to narratives that ignore decades of Israeli security dilemmas, Hamas terrorism, and the broader regional picture.
Clinton lamented that her attempts to have conversations with young people over the Gaza War have been fruitless, noting that students “did not know history, they had very little context, and what they were being told on social media was not just one-sided, it was pure propaganda.”
Her remarks reflect growing concern among pro-Israel advocates and politicians about the generational shift in US public opinion. Recent polling show that younger Americans, across political lines and even within the Jewish community, are significantly less supportive of Israel than older generations. Clinton suggested that this shift is less a product of thoughtful engagement with the conflict than of a digital information culture in which Hamas and its sympathizers have gained enormous influence.
”It’s not just the usual suspects. It’s a lot of young Jewish Americans who don’t know the history and don’t understand. A lot of the challenge is with younger people. More than 50 percent of young people in America get their news from social media,” Clinton said.
“So, just pause on that for a second. They are seeing short-form videos, some of them totally made up, some of them not at all representing what they claim to be showing, and that’s where they get their information,” continued Clinton, who previously served as a US senator from New York.
In today’s fragmented media environment, a single unverified video can reach millions of people within hours. Analysts have repeatedly documented how decontextualized or manipulated footage from Gaza circulates widely before fact-checkers can intervene. Meanwhile, footage that reveals Hamas’s extensive use of human shields, its embedding of military infrastructure inside hospitals, or its responsibility for repeated ceasefire collapses rarely achieves the same viral momentum. According to experts analyzing the flow of information, the asymmetry has allowed simplistic narratives portraying Israel as an aggressor to dominate the feeds of young users who lack the historical grounding needed to assess such content.
Clinton’s comments underscore a growing consensus that modern warfare is fought not only on the battlefield but also online in the domain of public relations. Israel, she suggested, faces an unprecedented challenge in countering digital propaganda that spreads farther and faster than any official briefing or nuanced reporting.
Clinton warned that the crisis extends beyond Israel to the United States and other democracies struggling to maintain informed public discourse. The result is an American youth culture increasingly swayed by unverified images and misleading narratives rather than history, context, or the realities of Israeli security, an information landscape that has reportedly been leveraged by foreign actors such as Iran, Qatar, and Russia to push disinformation.
Clinton’s remarks amounted to a call for a more robust response to online misinformation and for renewed efforts to inform young Americans about the complexities of the conflict.
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New York Governor Puts New Holocaust Memorial Project in Motion
New York Gov. Kathy Hochul. Photo: Reuters Connect
New York Gov. Kathy Hochul on Monday signed legislation to establish a new memorial honoring victims and survivors of the Holocaust that will be constructed inside the Rockefeller Empire State Plaza in Albany.
“With the first ever state-sponsored Holocaust Memorial, we are honoring the victims and survivors of the Holocaust while ensuring that all visitors have a place to remember and reflect on what the Jewish community has endured,” Hochul said in a statement announcing the action. “New York has zero tolerance for hate of any kind, and with this memorial, we reaffirm our commitment to rooting out antisemitism and ensuring a peaceful and thriving future for all.”
Per the legislation, Senate Bill 5784, the construction of the memorial, the first ever to be sponsored by the state government, will be managed by New York’s Office of General Services (OGS). Hochul’s office said its completion will give “visitors the opportunity to reflect on issues that touch the core of our society” and “serve as a reminder of the dangers of antisemitism, racism, and all manifestations of intolerance.”
Dan Dembling, president of the Capital District Jewish Holocaust Memorial, a nonprofit from upstate New York which promotes knowledge of the Holocaust, said his group is “deeply grateful” to Hochul.
“At this time when antisemitism is so high and rhetoric is reminiscent of the Nazi era, the need to remember the Holocaust is critically important,” Dembling said. “As envisioned, this memorial will have statewide impact by helping to educate people about the consequences of prejudice left unchecked and hopefully inspire New Yorkers to stand up against hate in all its forms.”
The approval of the Rockefeller Plaza Holocaust Memorial comes amid a rise in antisemitic incidents in New York, especially in New York City, where, according to the Anti-Defamation League (ADL), hundreds of anti-Jewish acts have been perpetrated in 2025 and a record 976 struck the city in 2024.
During the hate crime wave, the Jewish community in the Crown Heights section of Brooklyn suffered a violent series of robberies and other attacks. In one instance, three masked men attempted to rob a Hasidic man after stalking him through the neighborhood. Before then, two men beat a middle-aged Hasidic man after he refused to surrender his cell phone in compliance with what appears to have been an attempted robbery. Additionally, an African American male smacked a 13-year-old Jewish boy who was commuting to school on his bike in the heavily Jewish neighborhood, and less than a week earlier, an assailant slashed a visibly Jewish man in the face.
Hochul’s handling of the problem has been criticized by Jewish civil rights activists and Republican lawmakers. Many lambasted, for example, her endorsement in September of the candidacy of New York City Mayor-elect Zohran Mamdani, a self-described socialist who is allied with far-left anti-Zionist groups and has vowed to arrest Israeli Prime Minister Benjamin Netanyahu should he visit the city. Mamdani has also supported boycotts targeting Israel and failed to denounce the slogan “globalize the intifada,” which has been widely interpreted as a call for terrorism against Jews and Israelis worldwide.
The endorsement prompted accusations that Hochul was contributing to the rising popularity and aggressiveness of political Islamism across the Five Boroughs. Days after Mamdani won his bid for mayor, anti-Israel protesters staged a riotous demonstration in which hundreds of people amassed outside a prominent New York City synagogue and clamored for violence against Jews.
Hochul’s political opponents blamed her leadership for the incident.
“This is [Gov.] Kathy Hochul’s New York,” US Rep. Elise Stefanik, a leading Republican candidate running to unseat Hochul in next year’s gubernatorial election, said on the X social media platform. “When New Yorkers were looking for strong leadership from our governor, instead of standing against antisemitic hate, Hochul chose to endorse a raging antisemite for mayor of NYC putting Jewish families at risk.”
Hochul’s office has maintained that her administration’s efforts to combat antisemitism lead the nation, pointing to its constituting a new Division of Human Rights, enacting a “first ever statewide plan to combat antisemitism,” and approving legislation which requires colleges in the state to hire a civil rights coordinator.
College campuses in the state continue to see shocking incidents of antisemitism, however.
In September, law enforcement agents filed hate crime charges against two Syracuse University students who they say forcefully gained entry into a Jewish fraternity’s off-campus house during Rosh Hashanah, the Jewish New Year, and heaved a bag of pork at a wall, causing its contents to splatter across the floor. Just days earlier, someone graffitied antisemitic messages inside the Weinstein residence hall at New York University.
Follow Dion J. Pierre @DionJPierre.
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Guinness World Records Tells Israeli Charity It’s Currently Not Accepting Submissions From Israel
People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad
An Israeli nonprofit organization had its application to the Guinness World Records rejected recently because the latter has a current policy of not accepting submissions from Israel or the Palestinian territories.
The Matnat Chaim charity, which helps people make voluntary kidney donations, said on Wednesday it contacted Guinness World Records (GWR) to discuss an event it is planning next month at the International Convention Center in Jerusalem where 2,000 Israeli kidney donors will gather in one place, which would be a world record. The charity hoped the event would be entered into the next Guinness Book of World Records. However the nonprofit’s request was rejected by GWR, which claimed that it is currently not processing record applications from Israel or the Palestinian territories.
“We deeply regretted the decision to involve politics in a purely life-saving effort. Humanity should be above all boundaries or conflicts,” the charity, whose name means “Gift of Life” in Hebrew, wrote in a Facebook post. “But the truth is, no record book can truly contain the greatness of our donors. Our true record is not measured by certificates hanging on the wall, but by 2,000 men, women, and children who got up from their sickbeds and returned to life. It is measured by thousands of families who received their loved ones back.”
“Guinness may choose not to list us in their book, but our wonderful donors are listed in the book of lif. And this is the most important record there is,” the charity added. “Next month, we will meet in the name of God, the Matnat Chaim family, at the Nation Buildings and break a record. We continue with all our might in our activities, because there are still lives to save.”
Guinness World Records said in a statement on Wednesday that the policy has been place since November 2023, shortly after the war in Gaza started following Hamas’s Oct. 7 massacre across southern Israel,
“We are aware of just how sensitive this is at the moment,” GWR explained. “We truly do believe in record breaking for everyone, everywhere but unfortunately in the current climate we are not generally processing record applications from the Palestinian Territories or Israel, or where either is given as the attempt location, with the exception of those done in cooperation with a UN humanitarian aid relief agency.”
GWR said it is “monitoring the situation carefully” and the record application policy is subject to a monthly review. “We hope to be in a position to receive new enquiries soon,” it added.
Israeli Foreign Minister Gideon Sa’ar called the policy “inexcusable” in a post on X. He said Israelis “expect and demand that this twisted decision be revoked immediately.”