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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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JD Vance Argues Against the Pope’s Calls for Peace As Iran’s LEGO AI Videos Stoke America’s Religious Divisions
An Iranian propaganda video attacks President Donald Trump in response to social media postings critical of the Pope and regarded as insensitive to Christians. Photo: Screenshot.
Vice President JD Vance, who converted to Catholicism in August 2019 at age 35 criticzed Pope Leo’s call for peace between the United States and Iran, another example of growing religious disagreements among Christians which Iranian propagandists have sought to exacerbate in new propaganda videos.
On Thursday at an event organized in Georgia by conservative activist group Turning Point USA, Vance said when asked about the head of his church disagreeing with President Donald Trump’s policies, “I do think we have to remember that each of us has our own role. I’m the Vice President of the United States. The fundamental way I understand my role is I’m trying to take the lessons, the moral truths that are rooted in Christianity and I’m trying to apply to a whole host of complicated real world scenarios.” Tepid applause broke out in response with Vance then thanking the crowd.
The Vice President’s comments came in the days following social media postings from Trump which included a broadside against Pope Leo and an AI-generated image depicting the Commander-in-Chief wearing white and red flowing robes as he placed one of his glowing hands on the head of a sick man. Trump later removed the image following the criticism of longtime Christian members of his Make America Great Again (MAGA) movement.
Iran took advantage of the social media kerfuffle, on Wednesday the Iranian embassy in Tajikistan posted an AI animation which took the original image and modified it to mock Trump.
Another propaganda video released by a pro-Iran group this week also responded to Trump’s social media postings about the Pope and the Jesus image, again deploying the AI-generated animation style depicting the president and other American officials as LEGO characters while a soundtrack delivers rhyming insults.
The Occupy Democrats Facebook group which has 11 million followers celebrated another pro-Iran propaganda video that has started circulating online.
While the president’s opponents on the progressive left may enjoy Iran’s jabs at Trump, the video’s themes casting him as an enemy of Christianity seek to exacerbate pre-existing intra-theological conflicts among the MAGA base.
This year, other recent Catholic converts — notably far-right podcaster Candace Owens and her supporter Carrie Prejean Boller, the former beauty queen contestant ejected from a White House Religious Liberty Panel on antisemitism following her questioning about Christian Zionism — have also advanced positions counter to Catholic teachings.
Prejean Boller claims that Zionism and Catholicism are incompatible, writing on X after her dismissal from the panel that “I will continue to stand against Zionist supremacy in America. I’m a proud Catholic. I, in no way will be forced to embrace Zionism as a fulfillment of biblical prophesy [sic]. I am a free American. Not a slave to a foreign nation.”
In response to her actions, the group Catholics for Catholics awarded Prejean Boller a “Catholic Champion” award at its gala, an event also featuring Owens and Joe Kent, the recently-resigned director of the National Counterterrorism Center who has suggested that Israel controls America’s foreign policy and may have have had a hand in the Sept. 10, 2025 assassination of Turning Point USA chief Charlie Kirk.
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Antisemitic Beliefs More Common Among Young Social Media Users, Yale Poll Reveals
Penn State graduate student Roua Daas, an organizer with Students for Justice in Palestine, speaks at a pro-Palestinian protest at the Allen Street gates in State College, Pa. on Monday, February 12, 2024. (Photo by Paul Weaver/Sipa USA)No Use Germany.
A new survey from Yale Youth Poll is raising fresh concerns about antisemitism among younger Americans, revealing a significant link between social media consumption and anti-Jewish sentiment.
The Spring 2026 poll, conducted by researchers affiliated with Yale University, finds that Americans aged 18 to 34 are more likely than older generations to agree with statements widely recognized as antisemitic even as many express uncertainty about what qualifies as antisemitism in the first place.
According to the survey, a significant share of young respondents agreed with longstanding antisemitic tropes. Roughly a quarter to a third of the youngest respondents expressed belief in ideas such as Jews having “too much power” or divided loyalty between the United States and Israel. The poll also found that about one in five young respondents supported boycotts of Jewish-owned businesses to express disapproval over Israel’s war in Gaza.
The poll reveals that roughly 10 percent of those 18-34 agreed with all three of these antisemitic sentiments. Conversely, only 2 percent of those above 65 agreed with all three.
While these views are not held by a majority, experts say the numbers are high enough to raise alarms.
Beyond attitudes themselves, the poll also indicates that youth who receive news from alternative media sources, such as social media, are more likely to harbor antisemitic sentiments.
Respondents who rely more heavily on social media platforms, including TikTok, Instagram, and X/Twitter, were significantly more likely to agree with antisemitic statements.
The survey also points to a striking divide based on how young Americans consume news. Respondents who rely primarily on social media platforms such as TikTok, Instagram, and X were roughly 1.5 to 2 times more likely to agree with antisemitic statements than their peers who turn to traditional sources like television or newspapers. On measures such as beliefs about Jewish power or loyalty, gaps of 10 to 15 percentage points emerged between the two groups, with social media–heavy users consistently showing higher levels of agreement.
The pattern is striking enough to suggest that digital information ecosystems may be shaping perceptions in ways that traditional media does not. Further, the underlying pattern can give insight into why opinions on Israel and antisemitism substantially diverge among US youth compared to older generations.
Observers point to the nature of these platforms, where algorithm-driven feeds often elevate emotionally charged, highly simplified content. In that environment, complex geopolitical conflicts, such as the war in Gaza, can be reduced to slogans, viral clips, and narratives that blur the line between political criticism and longstanding antisemitic themes.
In the immediate aftermath of the Oct. 7 slaughters in Israel, a bevy of left-leaning social media personalities immediately condemned Israel and accused the Jewish state of committing war crimes and genocide in Gaza. Several reports indicate that anti-Israel content performs especially well on youth-centric social media platforms such as TikTok and Instagram, incentivizing content creators to intensify public criticisms of the Jewish state. The Yale survey suggests that for many young Americans, views on Israel are increasingly intertwined with perceptions of Jewish people more broadly.
The poll also challenges attempts to place blame on a single political group. The data indicates that both “extremely conservative” and “extremely liberal” individuals are likely to express belief that antisemitism is a “serious problem” in the country. Moderate voters are more likely to express ambivalence, with a plurality indicating that they “neither agree nor disagree” that antisemitism is a significant issue in the US.
Importantly, the survey does not suggest that most young Americans hold antisemitic views.
But it does point to a rising level of acceptance, or at least tolerance, of ideas that were once more widely rejected. Moreover, the poll suggests that young people underestimate the level of antisemitism that persists in the country. For instance, among voters ages 18-34, 29 percent agree with the antisemitic conspiracy “Jews have an extremely organized international community that puts their own interests before those of their home countries” compared to only 17 percent of those age 65. Approximately 8 percent of the 18-34 age cohort believe “people exaggerate how bad the Holocaust actually was” compared to 2 percent of those above 65.
A mere 21 percent of voters aged 18-34 agreed with the notion that Jews experience the bulk of hate crimes in the US, compared to 40 percent of overall voters. Various surveys indicate that Jews have faced the greatest increase in hate crimes over the past two years.
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Columbia Graduate Students Amend Complaint Against Union Dominated by Anti-Zionist Bosses
Protesters gather at the gates of Columbia University, in support of student protesters who barricaded themselves in Hamilton Hall, in New York City, US, April 30, 2024. Photo: REUTERS/David Dee Delgado
Students at Columbia University are escalating their fight against a graduate workers union dominated by anti-Israel advocates, having recently updated a federal complaint filed with the National Labor Relations Board (NLRB) last year to include new troubling accusations.
As previously reported by The Algemeiner, the students allege that the bosses who run Student Workers of Columbia (SWC), an affiliate of United Auto Workers (UAW), devote more energy and resources to pursuing “radical policy proposals” than improving occupational conditions. In collective bargaining negotiations, it allegedly pressures the university to adopt the boycott, divestment, and sanctions (BDS) movement against Israel and to enact other measures, such as ending its partnership with the New York City Police Department (NYPD) and closing a dual-degree program with Tel Aviv University.
In response, the students formed the Graduate Researchers Against Discrimination and Suppression (Columbia GRADS) organization and petitioned the NLRB to rein the SWC in.
The National Right to Work Foundation (NRTW), which represents the petitioning students has told The Algemeiner that the SWC subjects students to abuses which magnify problems inherent in compulsory union membership.
The amended complaint enumerates a slew of new examples, including that the SWC, under the threat of a strike, has demanded that the university dismantle CCTV security cameras, proclaim the campus a “sanctuary space” for illegal immigrants, and revoke the authority of public safety officers to detain and arrest students who pose a danger to themselves and others.
“The charges point out that many of these demands are so radical that even the SWC’s parent union, the UAW, has directed the SWC union to retract them,” the group said. “The UAW has also demanded, to no avail, that the SWC union drop its strike threats over these topics, as striking over such extraneous demands is a violation of federal labor law.”
It added, “The charges declare that these actions discriminate against Columbia GRADS and constitute bad-faith bargaining, all of which is prohibited under the National Labor Relations Act.”
“Under the National Labor Relations Act, the only bargaining that is required for a good faith sit down is over mandatory subjects of bargaining such as wages, hours, benefits, and the like,” NRTW staff attorney Glenn Taubman, told The Algemeiner during an interview on Wednesday.” Everything else is either a permissive subject, meaning the parties can choose to bargain or not…what is going on here is the union is trying to force Columbia to bargain over things that are permissive at best, and the items in dispute don’t really benefit the employees that they purport to represent. Instead the union is using bargaining to push an ideological agenda against Israel.”
He added, “All of this adds up to a union that is out of control, and I note that they don’t have an agenda against the Mullahs in Iran, against the dictator who runs Turkey, against the Chinese Communists who oppress their citizens or the North Koreans. But they have an agenda against Israel, the one democracy in the Middle East.”
The SWC is not the only higher education union sidelining important objectives to pursue politics and anti-Zionist policies which cross the line into antisemitism. In a letter sent to Congress in August, NRTW said the problem is also present in unions affiliated with United Electrical, Radio, and Machine Workers of America (UE).
Follow Dion J. Pierre @DionJPierre.