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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.


The post 7 Jewish highlights from the new Museum of Broadway appeared first on Jewish Telegraphic Agency.

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Tucker Carlson draws scorn for claiming he was ‘detained’ at Israeli airport after Mike Huckabee interview

(JTA) — Tucker Carlson had just barely wrapped his interview with U.S. Ambassador to Israel Mike Huckabee before the two were already disagreeing on a basic fact.

Carlson, the influential conservative commentator, flew to Tel Aviv on Wednesday to conduct the interview with Huckabee at Ben Gurion Airport, departing hours later without leaving the airport. But before leaving, he told the British tabloid Daily Mail, Israeli authorities confiscated his passport, dragged his executive producer into an interrogation room “and then demanded to know what we spoke to Ambassador Huckabee about.’

Not so, says the ambassador: What Carlson’s team experienced was simply a routine security measure.

“EVERYONE who comes in/out of Israel (every country for that matter) has passports checked & routinely asked security questions,” Huckabee wrote on X, refuting his former Fox News colleague before their conversation could go live.

Israel’s airport authority also denied the allegations, saying Carlson’s team “were politely asked a few routine questions, in accordance with standard procedures applied to many travelers.” A longer statement from the U.S. Embassy in Israel also said Carlson’s decision to stay in Israel only a few hours without leaving the airport was his alone.

Carlson’s complaints drew withering reactions from Jews and others who said they recognized the intense security practiced at Ben Gurion. The conservative commentator John Podhoretz, for example, recounted on X how he had been questioned for 20 minutes because he was couriering a dress for a relative. “I’ve known Tucker was an asshole for 30 years but this takes the f–king cake,” he wrote.

The back-and-forth was a preview of the hotly anticipated interview between the two divergent flanks of the Christian MAGA coalition, whose public disagreements on Israel have paralleled a larger fissure in the Republican party. Carlson, the influential GOP kingmaker, has increasingly embraced anti-Israel talking points on his show at the same time as he has platformed conspiracy theorists and antisemites including Nick Fuentes. A growing number of young right-wing influencers and candidates are lining up behind his views.

Huckabee, meanwhile, is a leading evangelical Christian Zionist who has argued in favor of Israeli sovereignty over the West Bank. He publicly lobbied Carlson for a sit-down after Carlson used his podcast to criticize him for what Carlson described as a failure to intervene in Israeli demonization of Christians. Carlson agreed to a talk, and posted a picture of himself arriving Wednesday prior to the interview.

“Greetings from Israel,” Carlson posted to X, captioning a photo of him posing outside near an Israeli flag with his arm around business partner Neil Patel. (“Sell out,” Sneako, a livestreamer and Internet personality with a long streak of antisemitic and anti-Israel comments, wrote in reply.)

To some seasoned travelers, the location was obvious.

“That’s the walkway to the private jet terminal for VIP entry,” tweeted David Friedman, who was U.S. ambassador to Israel during President Donald Trump’s first term.

“After the Western Wall, the Temple Mount, the City of David, the Church of the Holy Sepulcher, the Garden of Gethsemene, Capernaum, the Sea of Galilee, Nazareth, Bethlehem, Yad Vashem, the Knesset and about 2 million other places, this walkway is an important site (but only if you fly on private jets),” he continued. “Too bad Tucker stayed in the airport in the face of so many invitations to see so many wonderful places. A huge and obviously intentional missed opportunity.”

Trump, an ally of both Carlson and Huckabee, may have also played a hand in arranging the interview, according to a former Fox News reporter who told the Times of Israel that Trump wanted to prevent an intra-party spat over Israel that could benefit Democrats. The source, Melissa Francis, also described the interview as “emotional” and said Carlson’s team had tried and failed to also arrange an interview with Prime Minister Benjamin Netanyahu.

Little about the interview process had been straightforward. The week before Carlson touched down in Israel, according to local reports, Israeli authorities had indeed briefly discussed whether to bar Carlson from entering the country over his past comments — something they routinely do for non-Jewish critics of Israel, even for prominent figures. They ultimately decided to avoid a diplomatic incident, according to reports.

In the days since agreeing to an interview with Huckabee, Carlson has posted new interviews with Ryan Zink, a pardoned Jan. 6 rioter and Texas congressional candidate; billionaire hedge-fund manager Ray Dalio; conspiracy theorist Ian Carroll; and former U.S. Rep. Ron Paul.

Carlson has not yet published his interview with Huckabee. But late Wednesday, he shared an interview about Israel, continuing the vendetta that started their exchange. “How does Israel treat Christians? We spoke to one whose family has lived there since Jesus. His story is shocking,” Carlson wrote to promote the video.

For Carlson’s Jewish critics, the whole day offered yet more evidence that whatever he ultimately says about Israel should be discounted.

“Tucker Carlson is a chickens–t. The guy who’s been spouting lies about Israel for the past two years, landed today at Ben Gurion airport, took a quick picture in the logistics zone, tweeted it to pretend he’s actually IN Israel (so he can later claim that he’s a serious reporter who toured Israel), didn’t even step foot in country, then made up a story that he’s being supposedly harassed by our security (didn’t happen), whined about it, got back into the private jet and flew off,” tweeted Naftali Bennett, the Israeli politician. “Next time he talks about Israel as if he’s some expert, just remember this guy is a phony!”

The post Tucker Carlson draws scorn for claiming he was ‘detained’ at Israeli airport after Mike Huckabee interview appeared first on The Forward.

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Les Wexner testifies that he was ‘conned’ by Jeffrey Epstein and did not know of his crimes

(JTA) — Leslie Wexner, the Ohio retail billionaire whose association with Jeffrey Epstein has shadowed his philanthropic legacy, spent six hours Wednesday answering questions in a closed-door congressional deposition that Democrats later derided as implausible and evasive.

Wexner, 88, appeared before staff of the House Committee on Oversight and Government Reform at his home in New Albany, Ohio, where he sought to rebut years of scrutiny tied to Epstein, the disgraced financier and convicted sex offender who once managed Wexner’s personal finances.

In a prepared opening statement submitted to the committee, Wexner cast himself as a victim of deception.

“I was naive, foolish, and gullible to put any trust in Jeffrey Epstein,” Wexner said. “He was a con man. And while I was conned, I have done nothing wrong and have nothing to hide.” He added: “I completely and irrevocably cut ties with Epstein nearly twenty years ago when I learned that he was an abuser, a crook, and a liar.”

Wexner’s testimony comes amid renewed attention to his relationship with Epstein following the release of previously redacted federal investigative records. Wexner, long celebrated across the Jewish communal world for his business achievements and billion-dollar philanthropy, has never been charged with a crime connected to Epstein’s sex-trafficking operation and has consistently denied knowledge of Epstein’s misconduct.

In his statement, Wexner presented that denial in unequivocal terms. “Let me be crystal clear: I never witnessed nor had any knowledge of Epstein’s criminal activity,” he said. “I was never a participant nor co-conspirator in any of Epstein’s illegal activities.” He continued, “At no time did I ever witness the side of Epstein’s life for which he is now infamous.”

Wexner also addressed the emotional toll of the scandal and expressed sympathy for survivors. “Before going any further, though, I want to acknowledge the survivors of Epstein’s terrible crimes and the devastation that each of them has endured,” he said. “The pain he inflicted upon them is unfathomable to me. My heart goes out to each of them.”

Throughout the document, Wexner portrayed Epstein as a master manipulator who carefully curated an image of elite credibility. “Epstein lived a double life. He was clever, diabolical, and a master manipulator,” Wexner said, describing how Epstein “revealed to me only glimpses into the life in which he was a sophisticated financial guru.”

Wexner reiterated longstanding claims about the unraveling of their relationship, saying that after Epstein’s legal troubles surfaced, his wife Abigail Wexner reviewed financial records and concluded Epstein had misappropriated “vast sums” from the family. “Once I learned of his abusive conduct and theft from my family, I never spoke with Epstein again. Never,” he said.

But Democrats who participated in the deposition emerged sharply skeptical.

“He’s claiming there was no friendship with Jeffrey Epstein,” Rep. Robert Garcia of California, the committee’s top Democrat, told reporters during a press conference outside Wexner’s residence, calling the claim “bogus.”

Garcia went further, arguing that Epstein’s wealth and influence were inseparable from Wexner’s patronage. “There would be no Epstein island, there’d be no Epstein plane, there would be no money to traffic women and girls … without the support of Les Wexner,” he said.

Rep. Stephen Lynch of Massachusetts struck an even harsher tone. “There’s no question in my mind, given the evidence so far, that Les Wexner knew about this and failed to stop it,” Lynch said.

Other Democrats questioned the credibility of Wexner’s repeated assertions that he had neither seen nor suspected misconduct. Rep. Yassamin Ansari of Arizona said his claims of not recalling key details about Epstein strained belief. Rep. Dave Min of California summarized the testimony as a case of “see no evil, hear no evil,” calling it “really just not credible.”

Committee Republicans did not attend the deposition, citing a medical procedure for Chairman James Comer. A committee spokeswoman said Wexner “answered every question asked of him” and pledged that video and transcripts would be released.

For Wexner, the proceeding marked another chapter in a saga that has complicated his public image and tarnished his name in the Jewish world, where countless rabbis and other professionals have received fellowships bearing his name. In his statement, he framed the deposition as an opportunity for to help the Epstein’s victims.

“I hope you are successful in uncovering the truth and bringing closure to all survivors,” Wexner said. “If I am able to assist you in that effort by answering your questions, I am grateful for the opportunity to do so.”

The post Les Wexner testifies that he was ‘conned’ by Jeffrey Epstein and did not know of his crimes appeared first on The Forward.

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Quietly sold by Jewish library, letter by famed 18th-century rabbi surfaces at auction, fetching $400,000

(JTA) — A decade ago, amid a financial crisis, the Jewish Theological Seminary turned to its assets, selling real estate as well as rare books from its world-renowned library. The book sales were private, and the institution has never detailed what was sold or for how much.

Now, a lost treasure from the library has once again emerged at auction: this time, a letter written and autographed by the 18th-century Jewish luminary Moshe Chaim Luzzatto, also known as the Ramchal.

When it was housed at the library, the letter belonged to a Ramchal collection numbering hundreds of pages. Removed from the collection and marketed to the auction house’s Orthodox clientele as a profound text by “a great and holy Kabbalist,” the letter sold on Sunday for nearly $400,000. The identities of the seller and buyer are not publicly known.

The price reflects the massive appeal of heritage items in a newly affluent Orthodox market, where rare texts and autograph material are increasingly treated as both status symbols and investment vehicles. It is a market the auction house, Genazym, has helped supercharge by selling not just books, but proximity to revered rabbinic figures.

Born in 1707, Luzzatto was an Italian Jewish thinker, mystic and writer whose influence far exceeded his brief life. His best-known work, “Mesillat Yesharim,” became a cornerstone of Jewish ethical literature and remains widely studied today. Though his mystical teachings stirred suspicion among some contemporaries, later generations regarded him as a major figure of Jewish thought.

In a famous 1928 essay titled “The Boy from Padua,” the Hebrew poet Hayim Nahman Bialik offered one of the most enduring modern interpretations of Luzzatto’s legacy. Bialik described Luzzatto as a forerunner of three great streams of modern Jewish history: the Lithuanian rabbinic tradition, Hasidism and the Enlightenment.

The auctioned letter, spanning two handwritten pages and addressed to his mentor, captures Luzzatto engaged in a detailed discussion of mystical concepts. He uses the space to explain his reasoning and mentions additional writings then in progress.

For scholars like David Sclar, the quiet removal of Luzzatto’s writings from the JTS library and their transfer to private hands suggests a cultural decline.

“It’s a scandal within the world of scholarship and American Jewish institutions,” Sclar, a librarian at a Modern Orthodox high school in New Jersey, said in an interview. Sclar wrote his dissertation on Luzzatto using primary sources such as the auctioned letter.

He is also a former employee of the special collections division at JTS who left the institution years before the crisis that precipitated the sell-off. He sees the outcome of the auction as evidence of not only wrongdoing but incompetence.

“This is one of the items that they sold through the back door, which means they sold it for probably virtually nothing,” Sclar said. “And the tragedy in all of this, besides JTS sort of destroying cultural heritage, is that it’s also stupid, because if they had decided that they were desperate for money then just do an auction. Don’t do it through the back door.”

The librarian at JTS, David Kraemer, declined a request for an interview, directing questions to the institution’s spokesperson, who offered a brief emailed statement.

“Decisions were made at the time with careful consideration of what was in the best interest of the institution,” the spokesperson wrote.

In 2021, amid earlier revelations of the library’s sell-off, Kraemer told the Jewish Telegraphic Agency that he had been ordered to sell items of his choosing to raise a specified amount of money, which he did not disclose.

In their defense of the sales, Kraemer and other JTS officials said at the time that the deaccessioned materials had been digitized and were deemed to have limited research value, allowing scholars to access their contents even after the originals left the collection. Seminary leaders described the decisions as financially prudent and of minimal impact on the library’s core mission. 

Critics, however, argue that digitization does not replace the scholarly and cultural value of original manuscripts.

The post Quietly sold by Jewish library, letter by famed 18th-century rabbi surfaces at auction, fetching $400,000 appeared first on The Forward.

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