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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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The Iran War: Peace Through Strength

Mojtaba Khamenei, the second son of Iran’s Supreme Leader Ayatollah Ali Khamenei, visits Hezbollah’s office in Tehran, Iran, Oct. 1, 2024. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS

George Washington once observed, “To be prepared for war is one of the most effective means of preserving peace.” And as it turns out, sometimes the best way to preserve peace is to go to war — and finish the job.

Until October 2023, Israel — and, to a large extent, the United States as well — operated under a doctrine that seemed sensible enough: avoid war whenever possible, and when provoked, respond in a limited, carefully measured way. 

When rockets were fired, Israel retaliated just enough to signal displeasure. When terrorist leaders threatened destruction, their words were dismissed as overheated rhetoric, aimed at rallying an eager audience of haters rather than signaling an intention to wage war. And when enemies amassed weapons, the assumption was that overwhelming military superiority would deter their use.

The theory behind this approach was simple. Escalation is dangerous, and war is costly — financially and, of course, in human lives. Restraint, it was believed, would keep life relatively stable. Israel responded when necessary, but always carefully, operating on the assumption that a rap on the knuckles would be enough to signal that continuing attacks was a bad idea. 

The problem, as October 7 revealed with horrifying clarity, is that not every enemy shares this logic. For some enemies, it isn’t about equilibrium or stability; it’s about inflicting violence on those you hate — again and again, without pause or restraint.

For decades, Israel’s main adversaries — Hamas, Hezbollah, and above all the Iranian regime — made their intentions clear. Their slogans were blunt: “Death to Israel,” “Death to America.” Israel, like much of the West, preferred to believe these words were exaggerations, not literal plans. 

And so life went on. Gaza was tolerated as a hostile enclave, and every so often Israel “mowed the lawn.” Hezbollah, entrenched on Israel’s northern border with tens of thousands of missiles, was considered a threat that would never fully materialize. Iran, distant and absorbed in its own problems, was seen as dangerous but manageable. 

The hope was that monitoring, occasional strikes, persistent warnings about a nuclear Iran, and deterrence would prevent catastrophe.

Then came October 7. The brutal massacre on Israel’s southwestern border shattered those assumptions. The belief that terror groups and their backers could be contained collapsed overnight. The idea that economic incentives or agreements might moderate radical regimes suddenly looked naïve. 

Israel — and under President Trump, the United States as well — realized something fundamental: you cannot coexist with movements or regimes whose very purpose is your destruction. The rules of the game have changed. 

The new doctrine is simple: if terrorists and radicals are running for their lives, they cannot threaten yours. When those plotting your destruction are forced onto the defensive, their ability to act collapses.

Over the past two years, the consequences of this shift have been dramatic. Hamas’s military structure has been dismantled and its leaders eliminated. Hezbollah’s leadership was taken out, and much of its vast missile arsenal destroyed. 

And now, in a stunning development few would have imagined possible even a month ago, the Iranian regime itself has suffered devastating blows — its supreme leader eliminated in a precision strike and the IRGC crippled. 

For decades Iran acted as the conductor of the anti-Israel, anti-America orchestra, funding and arming terror movements across the region while feverishly pursuing a nuclear weapon. The regime assumed it could operate safely behind its proxies, directing violence from afar while remaining immune to consequences at home. That illusion has now been shattered.

What Israel has finally rediscovered is an ancient truth: when there is a serious threat, delay is dangerous. It must be confronted quickly and decisively. This principle is not only a lesson from modern security doctrine; it has deep roots in Jewish tradition, vividly illustrated in Parshat Ki Tisa

The central drama of this portion is the catastrophic episode of the Golden Calf. After forty days of waiting for Moses to descend from Mount Sinai, something shifts in the Israelite camp. Egged on by the pagan hangers-on who joined the Israelites during the Exodus, the people demand a replacement leader, and within hours they have constructed a golden idol.

Interestingly, most of the nation did not actively participate. They stood on the sidelines as this shocking desecration of the covenant with God unfolded before them. Perhaps they assumed it didn’t really affect them — that life could continue as normal as long as the upheaval remained confined to a relatively small group.

But when Moses descends the mountain and sees what has happened, the Torah describes an extraordinary sequence of events. Moses does not attempt to “mow the lawn.” He does not deliver a carefully calibrated response. He does not negotiate with the idolaters or seek a diplomatic compromise. Instead, he acts with stunning decisiveness. 

First he shatters the tablets. Then he completely destroys the calf, grinding it into powder and scattering it on water. Then he confronts the people and demands that they make an immediate choice (Ex. 32:26): מִי לַה׳ אֵלָי  —  “Whoever is for God, join me.” 

No equivocation, no wishy-washy middle ground: you are either with me or against me. The tribe of Levi rallies to him, and the rebellion is crushed before it can spread any further and cause irrevocable damage.

Commentators emphasize that Moses’ actions were not impulsive rage but deliberate leadership. The Ramban explains that breaking the tablets was meant to shock the nation into grasping the gravity of the situation. 

Rav Hirsch observes that Moses’ call eliminated ambiguity: in moments of existential crisis, neutrality is impossible — one must choose. The Sforno adds that swift punishment of the instigators prevented the sin from becoming normalized. Moses understood what history repeatedly confirms: some crises must be confronted decisively.

Had Moses hesitated, what began as a limited aberration — serious though it was — might have metastasized into something far worse. If he had attempted compromise, or even hinted that the problem could be contained, the rot would have set in, and before long everything might have collapsed. 

Instead, decisive action restored clarity. The Golden Calf was destroyed. Those who built it were eliminated. And then the covenant was renewed with a second set of tablets. The lesson is unmistakable: destructive forces must be confronted with overwhelming force before it is too late.

That pattern — crisis, decisive response, and renewal — recurs throughout Jewish history. In our own time there have been painful moments of reckoning. As a result, both the Western world in general and Israel in particular have had to rediscover the necessity of strength. 

For far too long, the United States and Israel hoped that a cautious approach toward Iran and its proxies would stabilize the region. But peace and tranquility are not built on illusions. When a regime like Iran spends decades arming itself and its proxies while openly proclaiming genocidal ambitions, those ambitions cannot be ignored. If they are not confronted, the threat only grows — and eventually leads to disaster.

The war against Iran — aptly codenamed “Epic Fury” — may well be seen as a turning point. It marked the moment when the strategic assumptions that shaped the Middle East for decades were finally set aside.

The Jewish people learned long ago that survival demands difficult decisions and decisive leadership. For a time Israel drifted away from that mindset. But the ancient lesson still resonates — and has now returned with renewed conviction. 

The lesson is clear: when those who threaten your destruction are confronted with resolve and strength, they can be defeated.

The author is a rabbi in Beverly Hills, California. 

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Mahmoud Abbas Gave Direct Orders to Name Hall After Palestinian Hitler Ally

The Grand Mufti of Jerusalem, Haj Amin al-Husseini, meets with Adolf Hitler in 1941. Photo: German Federal Archives via Wikimedia Commons.

During World War II, Grand Mufti of Jerusalem Haj Amin Al-Husseini was a Nazi ally and an associate of Hitler, living in Germany from 1941 until the war’s end — and receiving funding from the Nazi government.

The Mufti also led the lethal 1936-1939 Arab Revolt, in which at least 400 Jews were murdered.

Now the Palestinian Authority (PA) has built and named a public hall after Al-Husseini — and none other than PA leader Mahmoud Abbas himself instructed PA officials about the naming, thereby making a public statement about which historical values the PA chooses to uphold.

When laying the building’s cornerstone, PA officials stressed that the naming of the hall is “out of loyalty to the great figures of our people”:

Text on sign: Under the auspices of His Honor President

Mahmoud Abbas, may Allah protect him

President of the State of Palestine

His Honor Jericho and Jordan Valley District Governor Dr. Hussein Hamayel

And His Honor Jericho Mayor Mr. Abd Al-Karim Sidr

laid the cornerstone for the Mufti Haj Amin Al-Husseini Hall


Under the auspices of [PA] President Mahmoud Abbas
, yesterday, Sunday, [Feb. 15, 2026,] Jericho and Jordan Valley District Governor Hussein Hamayel and Jericho Mayor Abd Al-Karim Sidr laid the cornerstone for the Mufti Haj Amin Al-Husseini Multi-Purpose Hall …

District Governor Hamayel emphasized that the laying of the cornerstone was done out of loyalty to the great figures of our people, and according to direct instructions from President [Abbas] regarding the need to commemorate the memory of the leaders and fighters. [emphasis added]

[Official PA daily Al-Hayat Al-Jadida, Feb. 16, 2026]

Deciding to put a specific person’s name on a public building is a deliberate statement of values. By elevating an individual like Nazi ally Al-Husseini, Abbas and the PA aren’t just labeling a hall — they are officially endorsing Al-Husseini as a hero for the entire community.

Haj Amin Al-Husseini was also featured at a PA event held under the auspices of PA Prime Minister Muhammad Mustafa, with numerous PA and Fatah officials in attendance, during the marking of the 150th anniversary of the private, coeducational Catholic school Collège des Frères in Jerusalem.

On a huge screen, organizers displayed an image of Al-Husseini. Al-Husseini was on Yugoslavia’s list of wanted war criminals, and was responsible for a Muslim SS division that murdered thousands of Serbs and Croats. When the Nazis offered to free some Jewish children, Al-Husseini fought against their release, and as a result, 5,000 children were sent to the gas chambers.

The author is a contributor to Palestinian Media Watch, where a version of this story first appeared.

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I First Experienced Antisemitism at Six Years Old; But We Must Never Let Hate Win

An Oxford student is seen chanting hateful slogans at Jews, during a pro-Palestinian march in central London, an incident captured on viral video that has drawn widespread condemnation. Photo: Screenshot

When I was six years old, my father founded Carmel College, and moved the family into the English countryside west of London. My father’s school initially only took pupils of a certain age. So, I was sent to a local Church of England village school with one teacher, located just outside the Carmel estate.

For the first time, I became aware of Christian antagonism when I was surrounded by other pupils, bullied, and told that I had killed Jesus. Even at six-years old, I had a mind of my own, and told off the other children. The teacher was furious, got in touch with my father, and insisted that he remove me from the school. Instead, he arranged for home schooling until I was able to join Carmel College.

Several years later, during school holidays, I would walk the three miles from the school to Wallingford, the nearest town, with enough pocket money to buy a ticket to the local cinema. When I got there, the manager told me that the price had gone up, and I didn’t have enough money to get in. I replied that I thought this was unfair and that as I had walked all this way, perhaps he could make an exception. But he replied that since I was a Jew, I should know all about money, because that’s all that mattered to Jews. It was another incident that reinforced my awareness that we were different and not very popular.

A few years later, when I was old enough to play on the school soccer team, we often went to play against non-Jewish schools. In almost every case, either our opponents or the local spectators would abuse us for being Jewish and often played rough either to test us or to express their antagonism. When I mentioned this to my father his response, surprisingly, was simply to tell us to repay them in kind.

The first debate I participated in at Cambridge University in the Union was on the biased subject of whether the Jews had any right to “take” the state of “Palestine” from the Arabs. I argued our case strongly and we won the vote. In those days, the voices of those who supported Israel’s right to exist were strong enough to win the argument.

I was always aware of anti-Jewish sentiment. But it was mainly low key, and I could hardly say that I suffered. Anyway, I had sufficient confidence in my Jewish identity not to let it get to me.

Later I became a rabbi in London and I accepted Chief Rabbi Jakobovitz’s invitation to become responsible in his cabinet for interfaith relations. For a few years I devoted myself to establishing good relations with the various Christian denominations and with Muslims, who at that stage were still relatively new to England and were grateful for the support and encouragement we gave them.

I enjoyed these interactions and conferences and the friendships, some of which I have to this day. But I soon became aware that the interfaith world comprised a small layer of intelligent, sensitive good men and women of all faiths. Although they got on well with each other, they seemed to have little impact on the vast majority of the members of their different religions who were still mired in prejudice and so I withdrew.

I mentioned all these little things because I am conscious of the fact that these small little things affected my sense of alienation, although I was also aware of how wonderful and rewarding the small acts of friendship and warmth were.

Many of our children will experience much more alienation than we had to. We have to fight more prejudice and one-sided information today, and indeed, there are many Jews who prefer joining our enemies. Despite everything, we must encourage good relations with other human beings — many of whom also fight against prejudice and discrimination. Little things can have a huge impact, both ways.

The author is a writer and rabbi based in New York.

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