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For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness
(JTA) — Jewish stories have had top billing on Broadway this season — and Jewish audiences have been flocking to the theater.
Audiences have lined up to see Tom Stoppard’s “Leopoldstadt,” the multigenerational saga of a Jewish family in Vienna, and the devastating consequences of the Holocaust upon its ranks. They have packed the house for “Parade,” a musical retelling of the infamous antisemitic show trial and subsequent lynching of Leo Frank in Marietta, Georgia, in 1915. And just off Broadway, “The Wanderers” (which closed April 2) invited us into the slowly disintegrating marriage of two secular Jews born to mothers who dramatically left the Satmar sect of ultra-Orthodox Judaism, a show replete with intergenerational trauma and a pervasive sense of ennui.
None of these shows offers a particularly lighthearted evening at the theater. So why have they proven so popular? Critics have penned countless reviews of the three plays, analyzing the quality of the productions, the scripts, scores, performances of principal actors, set and design. But for our new book exploring what audiences learn about Judaism from Jewish cultural arts, my colleague Sharon Avni and I have been interviewing audience members after seeing “Leopoldstadt,” “Parade” and “The Wanderers.” We are interested in turning the spotlight away from the stage and onto the seats: What do audiences make of all this? What do they learn?
Take “Leopoldstadt,” for example, a drama so full of characters that when it left London for its Broadway run the production team added a family tree to the Playbill so that theatergoers could follow along. “Leopoldstadt” offers its audience a whistle-stop introduction to modern European Jewish history. In somewhat pedantic fashion, the family debates issues of the day that include Zionism, art, philosophy, intermarriage and, in a searing final scene, the memory of the Holocaust.
For some of the theatergoers that we interviewed, “Leopoldstadt” was powerful precisely because it packed so much Jewish history into its two-hour run time. It offered a basic literacy course in European Judaism, one they thought everyone needed to learn. Others, however, thought that this primer of Jewish history was really written for novice audiences — perhaps non-Jews, or assimilated Jews with half-remembered Jewish heritage, like Stoppard himself. “I don’t know who this play is for,” one interviewee told us. “But it’s not me. I know all this already.”
Brandon Uranowitz, left, who plays a Holocaust survivor, confronts Arty Froushan as a young writer discovering his Jewish roots, in the Broadway production of Tom Stoppard’s “Leopoldstadt.” (Joan Marcus)
Other interviewees thought the power of “Leopoldstadt” lay not in its history lessons, but in its ability to use the past to illuminate contemporary realities. I spoke at length with a woman who had been struggling with antisemitism at work. Some of her colleagues had been sharing social media posts filled with lazy caricatures of Jews as avaricious capitalists. Upon seeing “Leopoldstadt,” she realized that these vile messages mirrored Nazi rhetoric in the 1930s, convincing her that antisemitism in contemporary America had reached just as dangerous a threshold as beheld European Jews on the eve of the Shoah.
We heard similar sentiments about the prescience of history to alert us to the specter of antisemitism today from audiences who saw “Parade.” Recalling a scene where the cast members wave Confederate flags during the titular parade celebrating Confederate Memorial Day, Jewish audiences recalled feeling especially attuned to Jewish precarity when the theater burst into applause at the end of the musical number. “Why were we clapping Confederate flags?” one of our interviewees said. “I’ve lived in the South, and as a Jew I know that when you see Confederate flags it is not a safe space for us.”
“Parade” dramatizes the popular frenzy that surrounded the trial of Leo Frank, a Yankee as well as a Jew, who was scapegoated for the murder of a young Southern girl. Jewish audience members that we interviewed told us that the play powerfully illustrated how crowds could be manipulated into demonizing minorities, comparing the situation in early 20th century Marietta to the alt-right of today, and the rise of antisemitism in contemporary America.
What we ultimately discovered, however, was that audience perceptions of the Jewish themes and characters in these productions were as varied as audiences themselves. Inevitably, they tell us more about the individual than the performance. Yet the fact that American Jews have flocked to these three shows — a secular pilgrimage of sorts — also illustrates the power and the peril of public Jewish storytelling. For audience members at “Leopoldstadt” and “Parade,” especially, attending these performances was not merely an entertaining evening at the theater. It was a form of witnessing. There was very little to be surprised by in these plays, after all. The inevitable happens: The Holocaust destroys Jewish life in Europe, Leo Frank is convicted and lynched. Jewish audiences know to expect this. They know there will be no happy ending. In the secular cultural equivalent to saying Kaddish for the dead, Jewish audiences perform their respect to Jewish memory by showing up, and by paying hundreds of dollars for the good seats.
The peril of these performances, however, is that audiences learn little about antisemitism in reality. The victims of the Nazis and the Southern Jews of Marietta would tell us that they could never have predicted what was to happen. Yet in “Parade” and “Leopoldstadt” audiences are asked to grapple with the naivete of characters who believe that everything will be all right, even as audiences themselves know that it will not. By learning Jewish history on Broadway, audiences are paradoxically able to distance themselves from it, simply by knowing too much.
In the final scene of “Leopoldstadt,” Leo, the character loosely based on Stoppard himself, is berated by a long-lost relative for his ignorance of his family’s story. “You live as if without history,” the relative tells Leo. “As if you throw no shadow behind you.” Audiences, at that moment, are invited to pat themselves on the back for coming to see the show, and for choosing to acknowledge the shadows of their own Jewish histories. The cold hard reality, however, is that a shadow can only ever be a fuzzy outline of the truth.
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Poland returns 91 Jewish objects to Greece, decades after they were stolen by the Nazis
(JTA) — A trove of sacred Jewish objects from Greece that was stolen by the Nazis and displaced for decades in Poland is finally heading back home.
Poland returned 91 religious and ceremonial artifacts to the Greek government at a ceremony in Warsaw on Wednesday. Among them were Torah scrolls, a Torah mantle and silver finials that adorned a scroll’s wooden rollers — fragments of a rich Greek Jewish heritage that was nearly wiped out.
This marks the first time Poland has repatriated cultural property held under its care that was illegally taken from another country.
The Nazis stole the objects from synagogues in Thessaloniki, a port city once known as the “Jerusalem of the Balkans.” Jews made up half of Thessaloniki’s residents in 1919. Some 59,000 Greek Jews, over 83% of the country’s Jewish population, were killed in the Holocaust.
These items were seized by the Einsatzstab Reichsleiter Rosenberg, a Nazi agency dedicated to looting Jewish valuables, as it plundered homes, synagogues, cemeteries and cultural institutions across Greece in 1941. The objects were transferred to Nazi depots in southwestern Poland and rediscovered at a castle in Bożków after the war. In 1951, the Polish Ministry of Culture moved them to the Jewish Historical Institute in Warsaw, where they remained until now.
This return follows years of advocacy and provenance research. The Greek government formally requested the collection’s restitution in 2024, and the World Jewish Restitution Organization coordinated with Greek and Polish authorities to facilitate it. Now, the objects are headed to the Jewish Museum of Greece in Athens.
About 5,000 Jews live in Greece today.
Poland is the only member of the European Union with no comprehensive legislation to address the restitution of property seized by the Nazis and later nationalized by the communist regime. Since the country became a democracy in 1989, several bills have been proposed to return private property to Holocaust survivors and their descendants, but none became law.
In 2021, Poland passed a law that prevented people who sought to claim property from challenging administrative decisions more than 30 years old. This time limit made it virtually impossible for former owners, including Holocaust survivors and their descendants, to recover properties that were appropriated during the communist era.
In a statement, WRJO president Gideon Taylor and COO Mark Weitzman said the return of the Greek Jewish collection represented a milestone in international cooperation for Holocaust-era restitution.
“While Poland has broader restitution issues to address, we hope this historic act marks the beginning of a consistent, systematic approach to historical justice,” they said.
The post Poland returns 91 Jewish objects to Greece, decades after they were stolen by the Nazis appeared first on The Forward.
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Israel shoots down Iranian fighter jet; Iranian drone targets Turkey as war enters 5th day
(JTA) — Two unprecedented developments took place in the U.S.-Israel war against Iran on Wednesday, as fighting entered its fifth day.
First, Israel said its forces had shot down an Iranian plane over Iranian territory, in the first-ever direct combat between the two nations.
Second, Turkey says an Iranian drone headed toward its airspace was shot down by NATO’s missile defense system, marking the first apparent attack on a NATO country other than the United States.
In an apparent effort to ignite Arab and Muslim countries against Israel, Iran has struck even countries that historically have shared elements of its opposition to Israel, including in Qatar, which has housed Hamas leaders, and Turkey, which cut off trade with Israel as it sided with the Palestinians in the war in Gaza. It has also struck Oman, which was brokering negotiations between Iran and the United States until hours before the war began.
“They were actually acting in a way that would have benefited Iran. Despite this, Iran’s bombing of Oman as a mediator, Qatar, Kuwait, Bahrain, Saudi Arabia, the United Arab Emirates, Jordan — all of these places without making any distinction — is, in my view, an incredibly wrong strategy,” the Turkish foreign minister, Hakan Fidan, said on Tuesday.
The developments come as Israelis continue to experience intermittent sirens warning them of incoming missiles — including, on Wednesday, at the same time from Iran and its proxy in Lebanon, Hezbollah. Two people were injured in a strike in central Israel on Wednesday.
Iran has said it plans to name a successor imminently to its supreme leader, Ayatollah Ali Khamenei, whom Israel assassinated on Saturday. His son is reportedly a top contender, a signal that that hard-line forces that survive in the government are prevailing. President Donald Trump, meanwhile, indicated that airstrikes had killed some of the leaders the United States thought could take over and also pooh-poohed support inside Iran for Reza Pahlavi, the son of the king deposed in the 1979 Islamic Revolution who has sought to return. Many Iranian Jews who fled at the time of the revolution have backed Pahlavi.
Both Israeli and U.S. officials say the war is advancing faster than they expected though that they cannot put a timeline on its completion. But Secretary of Defense Pete Hegseth dismissed reports that Iran might be parceling out its missiles judiciously in an effort to ride out the U.S.-Israeli barrage and emerge with an arsenal intact.
“Iran cannot outlast us,” Hegseth during a press briefing on Wednesday morning in Washington, D.C.
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Tensions in Israel loom large in these Oscar-nominated shorts
Despite a ceasefire between Israel and Hamas, two Oscar-nominated short films show that the deep division that the war sowed in Israeli society will take a long time to mend.
Butcher’s Stain, a nominee for Best Live Action Short Film, is the debut of Israeli director Meyer Levinson-Blount, who based it on an experience he had working at a supermarket. Samir, a Palestinian employee at an Israeli grocery store, is accused of tearing down hostage flyers in the breakroom. A single dad who can’t afford to lose his job, he sets out to find the real culprit, only to find himself betrayed by his Israeli friends.
The 36-minute documentary Children No More: “Were and Are Gone,” directed by Israeli filmmaker Hilla Medalia, follows a group of Israeli activists who silently protest the war by going to public spaces and holding photos of Palestinian children killed by the Israel Defense Forces. At the beach and on the street, they are yelled at and physically threatened by passersby who call their acknowledgement of Palestinian death an endorsement of Hamas.
Neither movie particularly stands out in its style or structure as something revolutionary. However they both capture how difficult — and sometimes impossible — it has been to have civil discourse since Oct. 7. People are quick to make assumptions about others’ motivations for sympathizing with either or both sides. Friendships fall apart. Blanket statements alienate people from one another.
The shorts also demonstrate how emotionally charged images have been during the conflict. Both the Israeli hostage posters and the Palestinian flyers showcase the victims’ humanity, hoping viewers will empathize with the subjects regardless of their politics.
But protesters across the world have called the hostage posters Zionist propaganda and tearing them down has been likened by some to a form of anti-colonial resistance. In Children No More, some Israelis respond to the faces of dead Palestinians with the middle finger. In Butcher’s Stain, Samir is accused of supporting terrorism because he posted about children dying in Gaza on social media. To recognize the humanity of someone you may not agree with has become a politically incorrect act.
Reactions to the shorts have further demonstrated the polarizing climate they capture. Israeli culture minister Miki Zohar lambasted both films as being “against Israel,” saying they “amplify our enemies’ narratives.” When I watched Butcher’s Stain at the IFC Theater in New York, the woman two seats down from me became visibly agitated, her knee bouncing up and down as she scoffed disapprovingly before loudly whispering to her partner that the “fucking film” was “antisemitic” for portraying the Israeli employees as bigoted.
There were similar reactions when the Israeli-Palestinian documentary No Other Land won best documentary last year. The film about Israeli forces destroying the Palestinian village of Masafer Yatta was accused of being anti-Israel propaganda. Conservative commentator John Podheretz congratulated “Hamas for its Oscar win” on social media.
Clearly, the Academy was not swayed by last year’s critics to back away from films about Palestinian suffering. In fact, Butcher’s Stain’s selection feels pointed, as it’s the only political drama among the five live action short competitors this year (compared to last year’s lineup that included films about poaching, immigration, child labor, and the Bosnian War). Another Oscar nominee is The Voice of Hind Rajab, a dramatization of Palestinian emergency workers efforts to save the titular five-year old, up for best international feature.
Regardless of whether or not the shorts take home trophies on March 15, they leave audiences with pressing questions about the future now that there is a ceasefire: Can people with different views — in Israel and elsewhere — learn to talk to each other again? Will images of human suffering always be seen as political propaganda? And will Israeli society ever be able to move on?
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