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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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Stephen Spielberg wins Grammy, becoming 9th Jew in elite EGOT ranks
(JTA) — The legendary director Stephen Spielberg has become the ninth Jew to secure “EGOT” status after winning a Grammy for producing a documentary about the music of John Williams.
Spielberg was awarded the Grammy for producing “Music by John Williams,” which won best music documentary, before the televised ceremony on Sunday. The win makes him the 22nd person to win the coveted quartet of Emmy, Grammy, Oscar and Tony awards.
Spielberg has won three Oscars, including best picture for the 1993 Holocaust drama “Schindler’s List”; four Emmys for TV programming including two World War II dramatic miniseries; and a Tony for producing the Broadway show “A Strange Loop.”
Spielberg adds to a large proportion of Jewish artists to win all four of the top entertainment awards. Nine of the 22 EGOTs have been Jewish, including the first person to ever reach the status, composer Richard Rodgers. Rodgers and Marvin Hamlisch, who was also Jewish, are the only people to have added a Pulitzer Prize to the EGOT crown. The most recent Jewish winner before Spielberg was the songwriter Benj Pasek, who secured the status in 2024 with an Emmy.
One of Spielberg’s more celebrated recent works was a drama based loosely on his own Jewish family. “The Fabelmans,” released in 2022, earned him three Oscar nods — for best picture, best director and best screenplay — but no wins.
In promoting that movie, Spielberg said antisemitic bullying when he was a child had informed his sense of being an “outsider,” which he translated into his filmmaking.
“Schindler’s List,” meanwhile, spurred the creation of the USC Shoah Foundation, a leading center for preserving Holocaust testimonies that has also recently embraced the task of preserving stories of contemporary antisemitism, too.
“It was, emotionally, the hardest movie I’ve ever made,” Spielberg said about his most decorated movie — for which John Williams earned an Oscar for the score. “It made me so proud to be a Jew.”
The post Stephen Spielberg wins Grammy, becoming 9th Jew in elite EGOT ranks appeared first on The Forward.
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A border official mocked an attorney for observing Shabbat. Orthodox lawyers say the issue is not new.
Gregory Bovino, the Border Patrol official who led immigration raids in Minneapolis, reportedly mocked the Jewish faith of Minnesota’s U.S. attorney during a phone call with other prosecutors in mid-January. According to The New York Times, Bovino complained that Daniel Rosen, an Orthodox Jew, was hard to reach over the weekend because he observes Shabbat and sarcastically pointed out that Orthodox Jewish criminals don’t take the weekends off.
The call took place at a moment of extreme tension in Minneapolis, as federal agents under Bovino’s command carried out an aggressive immigration crackdown that had already turned deadly. It came between the fatal shootings of Renée Good and Alex Pretti, both killed during enforcement operations, and amid fierce backlash from local officials and residents.
Bovino made the remarks in a derisive, mocking tone, the Times reported, casting Shabbat observance as a point of ridicule. Bovino had already drawn national attention for frequently wearing an olive double-breasted greatcoat with World War II-era styling, leading some critics to call him “Gestapo Greg” and accusing him of “Nazi cosplay.” Bovino, who pushed back on those comparisons, has since been reassigned.
Rosen, a Trump nominee, was confirmed as Minnesota’s U.S. attorney in October 2025 after a career in private practice and Jewish communal leadership. He has said that rising antisemitism helped motivate his decision to take the job, and that prosecuting hate crimes would be a priority for his office.
For many Orthodox Jewish lawyers, Bovino’s alleged remarks were not surprising. They echoed a familiar challenge: explaining that Shabbat — a full day offline — is not a lack of commitment, but a religious boundary that cannot be bent without being broken.
In a profession that prizes constant availability, that boundary can carry consequences. Some lawyers say it shows up in subtle ways: raised eyebrows, jokes about being unreachable, skepticism when they ask for time off. Others say it has shaped much bigger decisions, including how visibly Jewish they allow themselves to be at work.

David Schoen, an Orthodox criminal defense attorney who served as lead counsel for President Donald Trump during his second impeachment trial, said he has long been mindful of how religious observance is perceived in the courtroom.
“I have made a conscious decision not to wear my yarmulke in front of a jury,” Schoen said, explaining that jurors often “draw stereotypes from what they see.”
Those concerns were reinforced by experience. Schoen said he has noticed a “definite difference in attitude” from some judges depending on whether he wore a yarmulke. In one case, he recalled, a Jewish judge pulled him aside during a jury trial and told him she thought he had made the right choice — a comment Schoen said he found disappointing.

For Sara Shulevitz, a criminal defense attorney and former prosecutor, the Bovino episode brought back memories from early in her career.
Orthodox and the daughter of a Hasidic rabbi — now married to one — Shulevitz said her unavailability on Jewish holidays was often treated as a professional flaw rather than a religious obligation. “It held me back from getting promotions,” she said.
In court, the scrutiny could be blunt. “I was mocked by a Jewish judge for celebrating ‘antiquated’ Jewish holidays,” she said, recalling requests for continuances for Shemini Atzeret and Simchat Torah. In another case, she said, a judge questioned her request for time off for Shavuot and suggested she had already “taken off for Passover.”
When another judge assumed Passover always began on the same day in April, “I had to explain the Jewish lunar calendar in the middle of court while everyone was laughing,” she said.
Not every encounter, Shulevitz added, was rooted in hostility. Sometimes judges simply didn’t understand Orthodox practice. When she explained she couldn’t appear on a Jewish holiday, judges would suggest she join the hearing by Zoom — forcing her to explain that Orthodox Jews don’t use electrical devices on Shabbat or festivals.
The misunderstanding often slid into a familiar assumption. “They think you’re lazy,” she said. “It’s not laziness. Any Jewish woman knows how much work goes into preparing for Passover.”
Rabbi Michael Broyde, a law professor at Emory University who studies religious accommodation, said that Bovino’s alleged “derogatory remarks” are “sad and reflects, I worry, the antisemitic times we seem to be living in.”
He added that the criticism of Rosen reflected a basic misunderstanding of how law offices operate, calling it “extremely rare” for a lawyer’s religious practices to interfere with their obligations, especially when senior attorneys delegate work and courts routinely grant continuances.
“No one works 24/7,” Broyde said.
The episode echoed a similar Shabbat-related incident during Trump’s first term. In his 2022 memoir, former Trump trade adviser Peter Navarro described how a group sought to undermine Trump son-in-law Jared Kushner’s role in the 2020 campaign by scheduling a key White House meeting with Trump on a Saturday, knowing Kushner — who is Shabbat observant — would not attend. Navarro titled the chapter recounting the episode, “Shabbat Shalom and Sayonara.”
The tension between Jewish observance and public life is not new. Senator Joe Lieberman, the first observant Jew to run on a major-party presidential ticket, famously walked to the Capitol for a Saturday vote and ate fish instead of meat at receptions. His longtime Senate colleague Chris Dodd joked that he became Lieberman’s “Shabbos goy.”
Still, Schoen said, visibility can cut both ways. During Trump’s impeachment trial, while speaking on the Senate floor, he reached for a bottle of water and instinctively paused. With one hand holding the bottle, he used the other to cover his head — a makeshift yarmulke — before drinking.
The moment was brief, but it did not go unnoticed. In the days that followed, Schoen said he heard from young Jewish men and businesspeople who told him that seeing the gesture made them feel more comfortable wearing their own yarmulkes at work.
The attention, he said, was unexpected. But for some in the Orthodox community, it became a source of pride.
“I felt honored,” Schoen said.
My guess in all seriousness is that he normally wears a yarmulke and this was reflex. Schoen is modern Orthodox so that would make sense. But I defer to @jacobkornbluh https://t.co/MkKx6W03v2
— Jake Tapper 🦅 (@jaketapper) February 9, 2021
Jacob Kornbluh contributed additional reporting.
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Deni Avdija becomes first Israeli to be selected as an NBA All-Star
(JTA) — Portland Trail Blazers star Deni Avdija’s meteoric rise has officially reached a new stratosphere, as the 25-year-old forward has become the NBA’s first-ever Israeli All-Star.
Avdija was named an All-Star reserve for the Western Conference on Sunday, an expected but deserved nod after the northern Israel native finished seventh in All-Star voting with over 2.2 million votes, ahead of NBA legends LeBron James and Kevin Durant. Avdija’s breakout performance this season has earned him repeated praise from James and others across the league.
Avdija’s star turn began last year in his first season with Portland, when he further captured the adoration of Jewish fans across Israel and the U.S. But he took another step forward this season, averaging 25.8 points, 6.8 assists and 7.2 rebounds per game. His points and assists clips are by far the best of his career, and rank 13th and 12th in the NBA, respectively. He’s considered a front-runner for the league’s Most Improved Player award.
For close observers of Israeli basketball, Avdija’s All-Star selection is the culmination of a promising career that began as a teenage star with Maccabi Tel Aviv and made him the first Israeli chosen in the top 10 in an NBA draft.
“Deni Avdija being named an NBA All-Star reserve is an unbelievable achievement in the mind of every Israeli basketball fan,” Moshe Halickman, who covers basketball for the popular Sports Rabbi website, wrote in an essay for the Jewish Telegraphic Agency. “This is a dream come true for many — a dream that became realistic and even a must-happen during his breakout season — but something that in his first five seasons in the NBA never came across as something that was going to be real.”
Halickman, who has covered Avdija in Washington, D.C., and in Israel, wrote that Avdija is not only considered the greatest Israeli hooper of all time, but perhaps the best athlete to come out of Israel, period.
Oded Shalom, who coached Avdija on Maccabi Tel Aviv’s Under-15 and Under-16 teams, echoed that sentiment in a recent profile of Avdija in The Athletic.
“Even though he is only 25, I think he is Israel’s most successful athlete in history,’’ Shalom said. “We’ve had some great gymnasts — and I hope everyone forgives me for saying it, because we’ve had some great athletes — but I think Deni has become the greatest.”
Avdija’s ascension has also come against the backdrop of the Gaza war and a reported global rise in antisemitism, which he has said affects him personally.
“I’m an athlete. I don’t really get into politics, because it’s not my job,” Avdija told The Athletic. “I obviously stand for my country, because that’s where I’m from. It’s frustrating to see all the hate. Like, I have a good game or get All-Star votes, and all the comments are people connecting me to politics. Like, why can’t I just be a good basketball player? Why does it matter if I’m from Israel, or wherever in the world, or what my race is? Just respect me as a basketball player.”
Now, Avdija’s talents will be on display at the NBA All-Star Game, on Sunday, Feb. 15, in Los Angeles.
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