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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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Iran Opposes Grossi’s UN Secretary-General Candidacy, Accuses Him of Failing to Uphold International Law
UN nuclear watchdog chief Rafael Grossi holds a press conference on the opening day of the International Atomic Energy Agency’s (IAEA) quarterly Board of Governors meeting in Vienna, Austria, Sept. 8, 2025. Photo: REUTERS/Elisabeth Mandl
Iran has publicly opposed International Atomic Energy Agency (IAEA) Director-General Rafael Grossi’s potential appointment as UN Secretary-General next year, accusing him of failing to uphold international law by not condemning US and Israeli strikes on Iranian nuclear sites during the 12-day war between Iran and Israel in June.
During a UN Security Council meeting on Monday, Iran’s Ambassador to the UN, Amir Saeid Iravani, sharply criticized Grossi, calling him unfit” to serve as UN Secretary-General next year, Iranian media reported.
“A candidate who has deliberately failed to uphold the UN Charter — or to condemn unlawful military attacks against safeguarded, peaceful nuclear facilities … undermines confidence in his ability to serve as a faithful guardian of the charter and to discharge his duties independently, impartially, and without political bias or fear of powerful states,” the Iranian diplomat said.
With UN Secretary-General Antonio Guterres’ term ending in December next year, member states have already begun nominating candidates to take over the role ahead of the expected 2026 election.
Since the start of the war in Gaza, Israel’s relationship with Guterres has spiraled downward, reaching a low point last year when then-Foreign Minister Israel Katz labeled the UN “antisemitic and anti-Israeli” and declared Guterres persona non grata after the top UN official failed to condemn Tehran for its ballistic missile attack against the Jewish state.
Last week, Argentina officially nominated Grossi to succeed Guterres as the next UN Secretary-General.
To be elected, a nominee must first secure the support of at least nine members of the UN Security Council and avoid a veto from any of its five permanent members — the United States, China, Russia, the United Kingdom, and France.
Afterward, the UN General Assembly votes, with a simple majority needed to confirm the organization’s next leader.
As head of the UN’s nuclear watchdog since 2019, Grossi has consistently urged Iran to provide transparency on its nuclear program and cooperate with the agency, efforts the Islamist regime has repeatedly rejected and obstructed.
Despite Iran’s claims that its nuclear program is solely for civilian purposes rather than weapons development, Western powers have said there is no “credible civilian justification” for the country’s nuclear activity, arguing it “gives Iran the capability to rapidly produce sufficient fissile material for multiple nuclear weapons.”
With prospects for renewed negotiations or nuclear cooperation dwindling, Iran has been intensifying efforts to rebuild its air and defense capabilities decimated during the 12-day war with Israel.
On Monday, Mohammad Eslami, head of the Atomic Energy Organization of Iran (AEOI), declared that the IAEA has no authority to inspect sites targeted during the June war, following Grossi’s renewed calls for Tehran to allow inspections of its nuclear sites and expand cooperation with the agency.
Iran has also announced plans to expand its nuclear cooperation with Russia and advance the construction of new nuclear power plants, as both countries continue to deepen their bilateral relations.
According to AEOI spokesperson Behrouz Kamalvandi, one nuclear power plant is currently operational, while other two are under construction, with new contracts signed during a recent high-level meeting in Moscow.
Kamalvandi also said Iran plans to build four nuclear power plants in the country’s southern region as part of its long-term partnership with Russia.
During a joint press conference in Moscow on Tuesday, Iranian Foreign Minister Abbas Araghchi reiterated Iran’s commitment to defending the country’s “legal nuclear rights” under the now-defunct 2015 nuclear deal, noting that Tehran’s nuclear policies have remained within the international legal framework.
Iran’s growing ties with Russia, particularly in nuclear cooperation, have deepened in recent years as both countries face mounting Western sanctions and seek to expand their influence in opposition to Western powers.
Russia has not only helped Iran build its nuclear program but also consistently defended the country’s “nuclear rights” on the global stage, while opposing the imposition of renewed economic sanctions.
Russian Foreign Minister Sergey Lavrov has described the reinstatement of UN sanctions against Iran as a “disgrace to diplomacy.”
In an interview with the Islamic Republic of Iran News Network (IRINN), Lavrov accused European powers of attempting to blame Tehran for the collapse of the 2015 nuclear deal, despite what he described as Iran’s compliance with the agreement.
Prior to the 12-day war, the IAEA flagged a series of Iranian violations of the deal.
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Eurovision Host Says It Will Not Drown Out Any Boos During Israel’s Performance
ORF executive producer Michael Kroen attends a press conference about the Eurovision Song Contest in Vienna, Austria, Dec. 16, 2025. Photo: REUTERS/Lisa Leutner
The host broadcaster of the next Eurovision Song Contest, Austria’s ORF, will not ban the Palestinian flag from the audience or drown out booing during Israel’s performance as has happened at previous shows, organizers said on Tuesday.
The 70th edition of the contest in May will have just 35 entries, the smallest number of participants since 2003, after five national broadcasters including those of Spain, Ireland, and the Netherlands said they would boycott the show in protest at Israel’s participation.
What is usually a celebration of national diversity, pop music, and high camp has become embroiled in diplomatic strife, with those boycotting saying it would be unconscionable to take part given the number of civilians killed in Gaza during Israel’s military campaign following the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
“We will allow all official flags that exist in the world, if they comply with the law and are in a certain form – size, security risks, etc.,” the show’s executive producer, Michael Kroen, told a news conference organized by ORF.
“We will not sugarcoat anything or avoid showing what is happening, because our task is to show things as they are,” Kroen said.
AUSTRIA SUPPORTED ISRAEL PARTICIPATING
The broadcaster will not drown out the sound of any booing from the crowd, as happened this year during Israel’s performance, ORF’s director of programming Stefanie Groiss-Horowitz said.
“We won’t play artificial applause over it at any point,” she said.
Israel’s 2025 entrant, Yuval Raphael, was at the Nova music festival that was a target of the Hamas-led attack. The CEO of Israeli broadcaster KAN had likened the efforts to exclude Israel in 2026 to a form of “cultural boycott.”
ORF and the Austrian government were among the biggest supporters of Israel participating over the objections of countries including Iceland and Slovenia, which will also boycott the next contest in protest. ORF Director General Roland Weissmann visited Israel in November to show his support.
This year’s show drew around 166 million viewers, according to the European Broadcasting Union, more than the roughly 128 million who Nielsen estimates watched the Super Bowl.
The war in Gaza began after Hamas-led terrorists killed 1,200 people, most of them civilians, and seized 251 hostages in an attack on southern Israel.
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Antisemitism Allowed to Fester in Australia, Says Daughter of Wounded Holocaust Survivor
Victoria Teplitsky, daughter of a Holocaust survivor who was wounded at the Bondi shootings, stands at a floral memorial in honor of the victims of the mass shooting targeting a Hanukkah celebration on Sunday, at Bondi Beach, in Sydney, Australia, Dec. 16, 2025. Photo: REUTERS/Jeremy Piper
Government authorities have not done enough to stamp out hatred of Jews in Australia, which has allowed it to fester in the aftermath of Oct. 7, said the daughter of a Holocaust survivor who was wounded at the Bondi shootings on Sunday.
Victoria Teplitsky, 53, a retired childcare center owner, said that the father and son who allegedly went on a 10-minute shooting spree that killed 15 people had been “taught to hate,” which was a bigger factor in the attack than access to guns.
“It’s not the fact that those two people had a gun. It’s the fact that hatred has been allowed to fester against the Jewish minority in Australia,” she told Reuters in an interview.
“We are angry at our government because it comes from the top, and they should have stood up for our community with strength. And they should have squashed the hatred rather than kind of letting it slide,” she said.
“We’ve been ignored. We feel like, are we not Australian enough? Do we not matter to our government?”
The attackers fired upon hundreds of people at a Jewish festival during a roughly 10-minute killing spree, forcing people to flee and take shelter before both were shot by police.
RISING ANTISEMITIC ATTACKS
Antisemitic incidents have been rising in Australia since the war in Gaza erupted after Palestinian terrorist group Hamas killed 1,200 Israelis in an attack on Oct. 7, 2023.
A rise in such incidents in the past sixteen months prompted the head of the nation’s main intelligence agency to declare that antisemitism was his top priority in terms of threat.
“This was not a surprise to the Jewish community. We warned the government of this many, many times over,” Teplitsky said.
“We’ve had synagogues that have been graffitied, graffiti everywhere, and we’ve had synagogues that have been bombed,” she added, referring to a 2024 arson attack in Melbourne in which no one was killed.
Teplitsky’s father Semyon, 86, bled heavily after being shot in the leg, and now is facing several operations as doctors piece bone back together with cement, then remove the cement from the leg, which he still may lose, she said.
“He’s in good spirits, but he’s also very angry. Angry that this happened, that this was allowed to happen in Australia, the country that he took his children to, to be safe, to be away from antisemitism, to be away from Jew hatred.”
Israel’s Prime Minister Benjamin Netanyahu said on Monday that Australian Prime Minister Anthony Albanese “did nothing” to curb antisemitism.
Albanese repeated on Tuesday Australia‘s support for a two-state solution. Anti-Israel, pro-Hamas protests have been common in Australia since Israel launched its offensive in Gaza.
At a press briefing on Monday, Albanese read through a list of actions his government had taken, including criminalizing hate speech and incitement to violence and a ban on the Nazi salute. He also pledged to extend funding for physical security for Jewish community groups.