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As ‘Parade’ opens on Broadway, star Ben Platt takes a trip to Leo Frank’s Brooklyn
(New York Jewish Week) — The singer and actor Ben Platt spends most of his time these days on West 45th Street in Manhattan, where he performs eight times a week as Leo Frank, a Jewish man who was lynched by a Georgia mob in 1915.
But he took a detour on a recent afternoon to Brooklyn, for visits to Frank’s childhood home and the Prospect Heights building where his body was briefly taken before his burial in Queens.
“It looks the same,” Platt said, according to the New Yorker writer who accompanied him on the sojourn and wrote up their walk in a pithy “Talk of the Town” vignette. “The door is the same, these railings are the same.”
The Broadway revival of the musical “Parade,” now in previews, follows a seven-performance run at City Center in November 2022 that garnered rave reviews; its official opening is Thursday.
The show, its first revival since it opened on Broadway in 1998, made headlines last month when a group of neo-Nazis protested outside the Bernard B. Jacobs Theatre on the first night of previews, roiling the Broadway community.
“Platt hadn’t expected Nazis, but he had expected some hate,” writes the New Yorker’s Zach Helfand. “He’d prepared for the show’s heaviness by painting his dressing room pink. ‘I figured it should be a brighter space,’ he said. ‘I also just love ‘The Wizard of Oz’ and Glinda.’”
Helfand notes that Platt is wearing a “North Face jacket and baggy jeans, with a Star of David necklace,” as they head first to Clinton Hill, where Frank lived at 368 Lafayette Ave. as a student attending the Pratt Institute (the art and design school briefly had a high school at the end of the 19th century).
Then, Platt walked to Frank’s parents’ home at 152 Underhill Ave. in Prospect Heights, where the family sat shiva and where Frank’s body was briefly brought from Georgia before he was buried in Mount Carmel Cemetery in Queens.
Along the way, Platt reflects on playing Frank, his own Jewish identity and, somewhat inexplicably, his hydration habits and bladder capacity. He notes that he is both trying to drink more water and also mindful that his role requires him to sit on stage throughout intermission, without the bathroom break that audience members can take.
“Parade” is Platt’s first Broadway role since he won the 2017 Tony Award for best lead actor in a musical, as the star of “Dear Evan Hansen.” Portraying Frank, Helfand writes, “is less taxing physically but more fraught personally.”
“The trauma involved in this one has a lot more to do with me,” said Platt, who is 29, the same age Frank was when he was accused of murder in 1913.
Frank had left Brooklyn for Atlanta as an adult — an unusual move at the time, but one that resonated with Platt. “My mom’s side ended up in Kansas,” Platt said. “They were one of very few Jewish families. There was a synagogue that’s now been renamed for my grandma.”
A manager of an Atlanta pencil factory, Frank was accused of murdering a girl whose body was found there in 1913. Despite little evidence, Frank was found guilty of killing Mary Phagan, who had worked at the factory, and was sentenced to death. In 1915, when Frank’s sentence was commuted to life in prison, he was kidnapped by an armed mob and lynched.
The case spurred both the creation of the Anti-Defamation League, the Jewish civil rights group whose activities include monitoring neo-Nazi activity, and the revival of the Ku Klux Klan white supremacist hate group. The consensus view is that Frank was innocent, but contemporary neo-Nazis reject that view and he has not been officially exonerated under the law.
Ben Platt and Micaela Diamond start in “Parade” at the Bernard B. Jacobs Theater. On Feb. 21, neo-Nazi protestors heckled ticket-holders outside the theater during the first preview of the show. (Julia Gergely)
After the neo-Nazi protest outside the theater last month, Platt spoke out on social media. “It was definitely very ugly and scary, but [also] a wonderful reminder of why we’re telling this particular story, and how special and powerful art and particularly theater can be,” he said in an Instagram video.
Platt’s foray into Jewish geography extends beyond Leo Frank to the present. He notes during his walk that the uncle of his fiance, Noah Galvin, is part of the Pratt family behind the Pratt Institute. He also reveals that the sister of his friend and collaborator, Jeff Levin, who released his studio albums on Atlantic Records, lives at Frank’s family’s Prospect Heights address. He’d learned that after a castmate visited the site and left a note.
“She had no idea,” Platt told the New Yorker about Levin’s sister. “I figured — based on Jewish geography, and, just, New York — maybe I’d find some connection to the person there. But it was like an hour later.”
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The post As ‘Parade’ opens on Broadway, star Ben Platt takes a trip to Leo Frank’s Brooklyn appeared first on Jewish Telegraphic Agency.
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After drawing BDS backlash, progressive Jewish writer Peter Beinart apologizes for speaking at Tel Aviv U
(JTA) — Peter Beinart began his first social media post after his latest speaking engagement with an apology.
“By speaking earlier this week at Tel Aviv University, I made a serious mistake,” the progressive Jewish writer posted on X, a day after a scheduled appearance at the Israeli school.
The morning before, he had defended his plans, saying he saw “value in speaking to Israelis about Israel’s crimes.” Now, he said, “I let my desire for that conversation override my solidarity with Palestinians, who in the face of ethnic cleansing, apartheid and genocide have asked the world boycott Israeli institutions that are complicit in their oppression.”
Beinart’s apology came in the face of steep criticism from some on the anti-Israel left, where Beinart has long been one of the most prominent Jewish voices. The Palestinian Campaign for the Academic and Cultural Boycott of Israel, a founding member of the Boycott, Divestment and Sanctions movement, publicly and privately called on Beinart to cancel his talk, and he endured a bruising volley of castigation online.
Emphasizing that he had not been paid for his speech, Beinart said he had been motivated by wanting to influence Israeli Jews as he said he had with American Jews “with whom I strongly disagree, both to listen and in hopes of changing their minds.” But he said he had come to understand that he could have done that without speaking at an Israeli university, and that he had erred by not consulting Palestinians when making his plans.
“It’s embarrassing to admit such a serious mistake,” Beinart wrote. “I dearly wish I had not made this one, which has caused particular harm because international pressure is crucial to ensuring Palestinian freedom. This was a failure of judgment. I am sorry.”
PACBI did not publicly respond to Beinart’s apology. But the mea culpa ignited a wave of criticism of its own from Jewish and pro-Israel voices who said it typified an absolutist ethos in the progressive pro-Palestinian movement that they have long denounced.
“The dynamics of the radical left, especially the American one (which draws on puritanical patterns) demonstrated here include social pressure, incessant border-drawing, threats of boycotts, repeated demands to confess sins, and the perception of confession as a submission that redeems the guilty from the fate of traitors to the revolution,” tweeted the Israeli scholar Tomer Persico, who is currently on the faculty of the University of California, Berkeley. “This is a political-social space that is purist to the point of self-destruction.”
An Israeli trauma psychologist said Beinart’s apology reflected a stance she had seen before from abused women or people trapped in cults. “They start treating ordinary acts of agency — talking to someone outside the circle or forming a judgment on their own — as betrayals that must be confessed,” wrote Orli Peter in a widely viewed post. “This isn’t moral clarity; it’s fear wearing the mask of conscience.”
Some said Beinart’s apology landed in a historical pattern in which Jews who have sought to ally themselves with antisemitic movements are cast out themselves, sometimes with mortal consequences.
“No Jew is ever good enough for the Jew-hater,” tweeted the Scottish Jewish pundit Ben Freeman. “The goal posts are always moved. The Jew is always left begging for acceptance. They are the ultimate parvenu. Always seeking approval, never gaining it. A Jewish tragedy if ever there was one.”
Some moderate pro-Palestinian voices also weighed in critically. “This is truly embarrassing and deeply self-deprecatory behavior,” tweeted Ahmed Fouad Alkhatib, a Gazan emigre who is critical of much of contemporary pro-Palestinian activism and who himself spoke to an Israeli news organization this week.
“Asking for forgiveness because you spoke to Israeli students who belong to your tribe, are your people, and part of your community is not going to make you more liked, accepted, or embraced by the rabid elements of the ‘pro-Palestine’ movement and the BDS cultists who have long stopped viewing their efforts as a tactic and devolved into demonizing Jews, Israelis, and Zionists as the actual end goal,” Alkhatib added.
Before his apology, Beinart had spoken to a number of Tel Aviv students, including some who attended because they disagree with his views on Israel. Gabi Schiller, a social media activist who has worked at the pro-Israel advocacy group StandWithUs, wrote that some of her Tel Aviv University classmates had spoken with Beinart after his talk to challenge him on his ideas, including his promotion of a one-state solution.
“Putting aside the content of what they discussed, what took place in that moment was inherently valuable, despite how much I oppose Beinart’s stances: the exchange of opinion and ideas in an academic space in a respectful way,” Schiller wrote on Instagram, where she posts under the account name Yehudim Omrim. The experience, she said, was “increasingly impossible on North American campuses around domestic politics and certainly around the Israeli-Palestinian conflict where anti-normalization has become the new litmus test to be permitted into social spaces.”
The post After drawing BDS backlash, progressive Jewish writer Peter Beinart apologizes for speaking at Tel Aviv U appeared first on The Forward.
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.