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Emma Goldman, superstar? The Jewish anarchist has a surprising role to play in American musical theater
Lately I’ve been thinking about Emma Goldman, the Russian-born Jewish anarchist who attracted droves of followers in her 30-plus years in the United States. I’ve not really been focused on her place in history writ large, more her surprisingly robust soap box in the world of musical theater. For all her import to the American left, on Broadway she’s mostly a bit part. And that bothers me.
Lynn Ahrens and Stephen Flaherty’s Ragtime, now in a lauded revival at Lincoln Center, devotes a song to her 1906 speech at Union Square. From there she interprets the subtext of a meeting between the WASPy, rich character “Younger Brother” and Black pianist Coalhouse Walker Jr. As a featured player, minus ensemble numbers, she’s in the mix for less than 10 minutes — she features more in E.L. Doctorow’s novel.
When I saw the Encores production at New York’s City Center last year, I remembered that Goldman has a cameo in Stephen Sondheim’s Assassins; in a brief encounter that would later haunt her, she hands a pamphlet to William McKinley’s future assassin Leon Czolgosz. Her role there, played by a member of the ensemble who doubles other parts, is even smaller.
While on vacation in Colorado over New Year’s (I skied; the chair lift conked me in the head), I got an email about an upcoming production of a chamber opera called E.G.: A Musical Portrait of Emma Goldman. I had to know more. Was she finally getting her due?
The piece, which began performances at Theater for the New City on Jan. 8, is by composer Leonard Lehrman and librettist Karen Ruoff Kramer. It’s actually not new at all, just the most recent production of a story they’ve been telling — or gospel they’ve been spreading — for over 40 years. To date they’ve presented the piece, together with educational slides, in five countries, at universities and synagogues, for groups like the Workers Circle and to mark important anniversaries, like the centennial of the Haymarket Riot that helped radicalize Goldman. They believe the work is more topical than ever.
“She’s talking about how war drains the economy from everything else, and militarism, to stay alive, will look for an enemy or even create one artificially,” said Lehrman, whose piece features him on piano and acting as Goldman’s lover, friend and partner Alexander Berkman. (Caryn Hartglass plays the title role.)
“It’s happening right now,” added Lehrman, “the creation of an enemy in order to distract from domestic failure.”
Lehrman and Kramer began work on the musical in 1984, first basing it on historian Howard Zinn’s play Emma. As the pair researched Goldman’s life, the story took a different tack. The pair met as expats in Germany, and, given that connection, gravitated toward her life in exile, which began in 1919 when the U.S. deported her as a radical “alien.” The action of the piece tells her life story through the various parts of a visa application she filled out from St. Tropez in 1933. (The section on the form for “name” deals with identity and her marriages for which she took other surnames; for “sex” she offers the Austin Powers “Yes, please” — though Lehrman and Kramer wrote it first — and goes on like that, even covering her 1916 arrest at the Forward building for giving a talk about birth control.)
“I need America,” she says in the opening moments. “And I need to know: Does America need me now?”
It makes a certain sense for Goldman to express her ideas through song. Les Miserables, if nothing else, has shown the anthemic potential of staging a revolution. (Its signature anthem shows up in real-world protests with some regularity.)
Goldman is credited with saying, “If I can’t dance, it’s not my revolution,” a quotable that gets its own number in Lehrman’s musical. Speaking over Zoom, Lehrman wore a shirt with those words and a portrait of Goldman.
Lehrman noted that in addition to his opera, there are two other ones about Goldman they know of — one by Elaine Fine, made in collaboration with Zinn, and another by Canadian composer Gary Kulesha.
Given her radical bona fides and thoughts about capitalism, some may wonder if Goldman might clash with the format of musical drama. We don’t have too much to go on for musicals, as the form as we now know it arguably wasn’t established until around 13 years before her death, with Showboat (it debuted in 1927, after her deportation; one suspects she would approve of how it addressed racial prejudice).
In her time, opera for the bourgeois and Vaudeville for the masses were popular musical entertainment. While Goldman turned down offers to appear on Vaudeville stages, Samantha M. Cooper, professor of Jewish Studies at the University of Kansas, observed in a 2023 lecture, Goldman was a fan — if also a critic — of opera, writing about it with some frequency in her magazine Mother Earth, and even in a lecture notes in admiration of Richard Wagner.
Cooper argues that perhaps Goldman’s most pivotal reference to opera comes in her memoir, Living My Life. In it Goldman recounts how, after watching a performance of Carmen at the Met, her mentor Johann Most asked her to recall her first experience at the opera in Königsberg.
She vividly recounted seeing Il trovatore as a school girl, where she “first realized the ecstasy music could create in me.” Hearing her impassioned reflection, Most told Goldman she had talent and must “begin soon to recite and speak in public.”
“He grinned and emptied his glass to my ‘first public speech,’” Goldman recalled.
Could it be that we have opera, then, to thank for Emma Goldman’s oratory, and so, her future presence in musicals?
E.G. makes clear that the firebrand activist is not so uni-dimensional as Ragtime and Assassins make her seem. Her life was limned with contradictions. She enjoyed the finer things — and also railed against fatcat industrialists up to the point of attempted murder.
Drawing from letters historian Candace Falk found in the back of a record store — the owner showed them to her when she learned her dog was named “Red Emma Goldman” — Lehrman and Kramer’s piece reveals Goldman as a sexual creature with a biting wit. And it makes the case that while she was condemned to a life away from America for her so-called subversion, she was nonetheless a patriot.
“It’s important that people see that there was a courageous way of being very much American that was not the same thing as just buckling under when McCarthy comes and says, ‘You guys have to shut up now,’” said Kramer.
Though the portrait in E.G. makes for a more comprehensive profile than the one now at Lincoln Center, it also presents something larger in its invitation to consider her legacy.
“E.G. means ‘For example, take this example,’” said Kramer. “Not in the sense of cloning Emma in all respects, but certainly the insistence on understanding and the courage to push for things that are right, even if they’re not popular, and that others should do that too.”
In the canon of musical theater, there are many examples to choose from. I like the one who dances. Sign me up for a shirt.
The post Emma Goldman, superstar? The Jewish anarchist has a surprising role to play in American musical theater appeared first on The Forward.
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Attacks in South Lebanon Strain Ceasefire on Eve of Washington Talks
Smoke rises after an Israeli strike, amid escalating hostilities between Israel and Hezbollah, as the US-Israeli conflict with Iran continues, in southern Lebanon, March 24, 2026. Photo: REUTERS/Stringer
An Israeli strike killed two people in southern Lebanon on Wednesday, Lebanon‘s state news agency reported, and Hezbollah said it launched an attack drone at Israeli forces in the south, further straining a ceasefire between the Iran-backed terrorist group and Israel.
On the eve of talks in Washington between Lebanese and Israeli ambassadors, Lebanese President Joseph Aoun said Beirut would seek an extension of the 10-day, US-mediated ceasefire, which is set to expire on Sunday.
Hostilities between Hezbollah and Israel reignited on March 2, when the Lebanese Islamist group opened fire in support of Iran.
The US-brokered ceasefire in Lebanon emerged separately from Washington’s efforts to resolve its conflict with Tehran, though Iran had called for Lebanon to be included in any broader truce. The United States has denied any link between the tracks.
Lebanon‘s state-run National News Agency said the Israeli strike hit a car in al-Tiri, a village in south Lebanon, killing two people inside. The Israeli military didn’t immediately respond to a request for comment.
Hezbollah said it attacked an Israeli artillery position in southern Lebanon with a drone, in response to what it said was an Israeli violation of the ceasefire. The Israeli military said it had intercepted “a hostile aircraft” launched by Hezbollah toward Israeli soldiers in south Lebanon.
More than 2,400 people have been killed in Lebanon since Israel launched an offensive in response to Hezbollah’s March 2 attack, according to Lebanese authorities. Israel says the vast majority of those killed have been Hezbollah terrorists, who often embed themselves in civilian areas.
Israeli forces have seized a belt of territory at the border where troops remain, saying they aim to create a buffer zone to shield northern Israel from attacks by Hezbollah, which fired hundreds of rockets at Israel during the conflict.
BEIRUT TO SEEK END TO ISRAELI DEMOLITIONS
Aoun said Beirut’s envoy to Thursday’s talks, Lebanese Ambassador to Washington Nada Moawad, would seek a ceasefire extension and a halt to demolitions being carried out by Israel in villages in the south, according to a statement.
A Lebanese official said Beirut wants a ceasefire extension as a prerequisite for talks to expand beyond the ambassadorial level to the next phase, in which Lebanon would push for an Israeli withdrawal, the return of Lebanese detained in Israel, and a delineation of the land border.
Hezbollah, which says the Lebanon ceasefire was the fruit of Iranian pressure, has condemned Beirut for seeking talks with Israel, reflecting wider splits with the government that has sought Hezbollah’s peaceful disarmament for a year.
Israeli Foreign Minister Gideon Saar, in a speech, said Israel had taken a “historic decision to negotiate directly with Lebanon after more than 40 years” whilst also calling it a “failed state.”
“I call on the Government of Lebanon: Let’s work together against the terror state that Hezbollah built in your territory. This cooperation is needed by you even more than by us,” he said.
The Israeli military said it had killed two terrorists who had crossed its “Forward Defense Line” in south Lebanon on Tuesday and approached Israeli soldiers, saying they had violated the ceasefire.
DRUZE LEADER URGES CLEAR AGENDA, INCLUDING WITHDRAWAL
US Secretary of State Marco Rubio is set to attend Thursday’s meeting. Israel will be represented by its ambassador to Washington, Yechiel Leiter.
Aoun has cited goals including halting Israeli attacks on Lebanon and securing the withdrawal of Israeli troops. In a speech on Friday, he said a ceasefire should be transformed into “permanent agreements that preserve the rights of our people, the unity of our land, and the sovereignty of our nation.”
Announcing the ceasefire on April 16, US President Donald Trump said he had instructed Rubio, Vice President JD Vance, and Chairman of the Joint Chiefs of Staff Dan Caine to work with the two countries to achieve lasting peace.
Lebanon and Israel have remained in an official state of war since the establishment of Israel in 1948.
Lebanon‘s most senior Shi’ite state official, Parliament Speaker Nabih Berri, is against face-to-face negotiations with Israel, saying Beirut could have negotiated indirectly.
Lebanon‘s leading Druze politician, Walid Jumblatt, said on Tuesday that the most Lebanon could offer is an update to a 1949 armistice agreement with Israel.
In comments to reporters after a meeting with Berri, Jumblatt said there should be a clear agenda for talks that includes a withdrawal of Israeli troops still in southern Lebanon.
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Dutch Prosecutors Seek 30-Year Sentence for Alleged Syrian Torturer Who Backed Assad
Fighters of the ruling Syrian body inspect the site of a mass grave from the rule of Syria’s Bashar al-Assad, according to residents, after the ousting of al-Assad, in Najha, Syria, Dec. 17, 2024. Photo: REUTERS/Ammar Awad
Prosecutors in the Netherlands on Wednesday demanded a 30–year prison sentence for a Syrian man accused of torturing and raping prisoners when he was a member of a militia that backed the government of former president Bashar al-Assad.
Prosecutors have charged 58-year-old Rafik A., whose last name is withheld by the Dutch court, with 25 counts including torture, sexual violence, and rape as crimes against humanity against nine people in 2013 and 2014.
Rafik A. has repeatedly denied any involvement with the alleged crimes. The case is the first in the Netherlands to deal with alleged atrocity crimes in Syria committed by pro-government forces. It is also the first time Dutch prosecutors have charged sexual violence as a crime against humanity.
Cases against Assad-era security officials have also been brought in other European countries, including Germany.
Witnesses who survived the defendant’s attacks spoke of the physical and psychological torture inflicted by A. during the trial.
“Not only did he tear my body apart, but he trampled on my soul. He was the worst nightmare of my life,” one witness said, recounting that he entered detention as a child and emerged as a traumatized adult.
Prosecutors say Rafik A. was the head of the interrogation unit of the National Defense Forces (NDF) in Salamiyah, Syria, in 2013 and 2014. The NDF was a militia that fought on the side of the government of Assad, who was ousted in December 2024.
Rafik A. was arrested in 2023 in the Netherlands, where he had lived for several years as an asylum seeker.
Under the concept of universal jurisdiction, Dutch law broadly allows cases to be brought against foreign nationals for crimes committed abroad if the perpetrators or some of the victims are present in the Netherlands.
Rafik A.’s lawyers and lawyers for his alleged victims will give their closing arguments on Thursday. The verdict is expected on June 9.
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French Soldier Dies of Wounds After Attack on UN Force in Lebanon, Macron Blames Hezbollah
French President Emmanuel Macron speaks during a press conference in Paris, France, June 12, 2024. Photo: REUTERS/Stephane Mahe
President Emmanuel Macron said on Wednesday that a second French soldier had died following an attack on United Nations peacekeepers in Lebanon last week, which he said was carried out by Iran‑backed Hezbollah.
The soldier, Chief Corporal Anicet Girardin, was severely wounded on April 18 and died of his wounds after being evacuated to France on Tuesday, Macron said in a post on social media platform X.
One of his colleagues was killed immediately while clearing a road in southern Lebanon in the same attack on the UN peacekeeping mission.
Macron blamed Hezbollah terrorists for the attack.
UNIFIL said initial assessments indicated the fire came from non‑state actors, allegedly Hezbollah, and that an investigation had been launched into what it called “a deliberate attack.”
Hezbollah has denied any involvement, expressing its “surprise at positions that rushed to make baseless accusations” against the Islamist group.
During a visit to Paris on Tuesday, Lebanon’s Prime Minister Nawaf Salam said he was personally following the investigation into the incident.
“I have instructed the police force to carry out all necessary inquiries in order to identify those responsible and bring them to justice,” he said.
France, which has deep historical ties to Lebanon, has about 700 troops as part of the UNIFIL mission.
Three French soldiers have now died in the region since the United States and Israel launched strikes on Iran at the end of February. One was killed earlier in northern Iraq after a drone attack on a French‑Kurdish base.
Since 1978, more than 160 French soldiers have been killed in Lebanon.