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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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Italy’s New Jewish Community Leader Sounds Alarm on Rising Antisemitism, Targeted Violence
A Pro-Palestinian demonstrator waves a Palestinian flag during a national protest for Gaza in Rome, Italy, Oct. 4, 2025. Photo: REUTERS/Claudia Greco
The newly elected president of the Union of Italian Jewish Communities (UCEI) has warned that Jews across Italy are facing a deepening climate of hostility, fear, and targeted violence, sounding the alarm over what she described as a growing antisemitic threat.
During her first press conference on Monday as the newly appointed head of UCEI, the main representative body of Italian Jews, Livia Ottolenghi laid out the priorities of her mandate, highlighting efforts to strengthen Jewish communal life and tackle antisemitism that, she warned, “affects the entire society.”
“My commitment will be focused on consolidating the UCEI’s role as a point of reference for Italian Jewish communities and as an authoritative voice on the national and international scene,” she said. “It is essential that we work together to ensure the continuity, cohesion, and future of Italian Judaism.”
“In Italy, Jews don’t live well,” she continued. “Or rather, we live well only thanks to the police. Schools have bars on the windows, students must be escorted whenever they leave, and from kindergarten to university, we face serious challenges even in the simple practice of our Judaism.”
Ottolenghi added, “It’s far from a peaceful situation. Yet we continue to live our religious and civic lives fully, without fear.”
Previously a professor of Dentistry at Sapienza University of Rome, the 63-year-old Jewish leader warned that the alarming rise of antisemitism in Italian society and the surge in attacks “demands everyone’s attention,” urging both authorities and citizens to take immediate action to protect the community.
During the press conference in Rome, Ottolenghi also praised the Italian Senate’s recent approval of a bill aimed at combating antisemitism, calling it a crucial step for the community and emphasizing the need for continued legislative and societal efforts to combat hatred and protect Jewish life.
“It’s an important law, and we welcome its approval, as we believe it addresses a genuine and pressing need,” she said.
The legislation, which adopts the International Holocaust Remembrance Alliance (IHRA) definition of antisemitism, also lays the groundwork for a national strategy against antisemitism, according to the European Jewish Congress. The three-year plan will focus on improving the monitoring of antisemitic incidents, strengthening security for Jewish communities, and promoting educational initiatives in schools.
The strategy further calls for training programs for public officials, the military, and law enforcement, and includes measures both to counter antisemitic hate speech online and to promote awareness of Jewish history and culture.
“Antisemitism is not a concern solely for Jews. It is a structural poison in our society, a direct threat to democratic principles and civil coexistence,” Ottolenghi continued. “The Senate’s consensus — though not as broad as hoped — sends a strong and unequivocal signal: combating anti-Jewish hatred is a shared national priority.”
Addressing growing regional tensions in the Middle East and the war against Iran, Ottolenghi described the situation as “worrying and fraught with unpredictable consequences that we all fear.”
Like most countries across the Western world, Italy has seen a rise in antisemitic incidents over the last two years, in the wake of the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
Across the country, Jewish individuals have been facing a surge in hostility and targeted attacks, including vandalism of murals and businesses, as well as physical assaults. Community leaders have warned that such incidents become more frequent amid tensions related to the war in Gaza.
In November, a pro-Palestinian individual brutally attacked a group of Orthodox Jewish American tourists at Milan’s Central Station, allegedly chasing one of the victims, punching and kicking him, and striking him in the head with a blunt metal ring.
During the attack, the assailant reportedly shouted antisemitic insults and threats, including “dirty Jews” and “you kill children in Palestine, and I’ll kill you.”
In September, a Jewish couple was walking through Venice in traditional Orthodox clothing when three assailants confronted them, shouted “Free Palestine,” and physically attacked them, slapping both.
This incident followed another attack on a Jewish couple in Venice the month before, when a man and his pregnant wife were harassed near the city center by three unknown individuals.
The attackers approached the couple, shouting antisemitic insults and calling the husband a “dirty Jew,” while physically assaulting them by throwing water and spitting on them.
One of the assailants later set his dog on the couple in an attempt to intimidate them before the group stole their phones.
Last month, the Milan-based CDEC Foundation (Center of Contemporary Jewish Documentation) confirmed that antisemitic incidents in Italy almost reached four digits for the first time last year, spiking to record levels.
Of 1,492 reports submitted through official monitoring channels, the CDEC formally classified a record high 963 cases as antisemitic, according to the European Jewish Congress and UCEI.
By comparison, there were 877 recorded incidents in 2024, preceded by 453 such outrages in 2023 and just 241 in 2022.
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One Arrested in Norway Following Car Chase Near Trondheim Synagogue
An armed police officer guards the main entrance to the Norwegian parliament in Oslo, Norway April 3, 2024. Photo: REUTERS/Gwladys Fouche
Norwegian police have arrested one person following an armed operation after a high-speed car chase near the Trondheim synagogue on Thursday evening, in an incident that sparked fear and emergency responses across the area.
Local authorities in Trondheim, a city in central Norway, say the exact circumstances of the incident remain unclear.
According to police reports, the incident began when officers tried to stop a vehicle near the city’s synagogue, but a passenger suddenly jumped out and fled on foot carrying what may have been a bag, while the stolen car sped away.
As the driver fled, a half-hour police chase unfolded, ending near Svorkmo, a village in central Norway, where officers used a spike strip to force the vehicle to stop.
Local media reported that the driver was taken into custody, though authorities have not released further details.
Police continue to search for a second suspect, maintaining a heavy presence around the synagogue with drones, while officers have reportedly been seen wearing bulletproof vests and carrying rifles and protective shields.
As of now, police have started lifting the cordons and scaling back security around the synagogue, which had been secured earlier ahead of a scheduled event.
Officials have confirmed that there is no immediate threat to the public in central Trondheim.
“Everything indicates that no connection can be made between the threat against the synagogue and this incident,” incident commander Karl Småland said.
This latest development comes amid an increasingly hostile climate for Jews and Israelis in Europe, with several Jewish institutions facing targeted attacks as regional tensions in the Middle East escalate and the war with Iran intensifies.
In Norway, police had stepped up security around synagogues and Jewish institutions following the March 8 attack on the US embassy in Oslo.
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Trump Endorses Congressional Candidate Who Made Light of Holocaust, Nazis
Brandon Herrera, a Republican congressional candidate in Texas endorsed by US President Donald Trump. Photo: Screenshot
US President Donald Trump has endorsed Republican congressional candidate Brandon Herrera in Texas, a move drawing renewed attention to controversial past videos in which the firearms influencer discussed owning Adolf Hitler’s antisemitic manifesto Mein Kampf and participated in satirical skits referencing Nazi imagery.
Trump announced his support for Herrera as the Republican nominee in Texas’s 23rd Congressional District, praising him as an “America First” candidate aligned with conservative priorities such as gun rights and border security.
The endorsement comes as Herrera, a 30-year-old firearms manufacturer and YouTube personality known online as “The AK Guy,” faces criticism over resurfaced clips circulated by a Democratic super PAC. In one podcast segment, Herrera said he owned a 1939 English-language edition of Mein Kampf, remarking that he found it surprising that the book was difficult to purchase online while works like The Communist Manifesto and Das Kapital were readily available.
“That’s my copy at my house next to a bunch of the German stick grenades,” Herrera said in the clip, which has circulated widely on social media.
“I got the 1939 edition printed in English, just because I thought it was wild that you couldn’t buy it on Amazon, but you can buy The Communist Manifesto and Das Kapital,”he continued.
Other videos highlighted by critics show Herrera and collaborators parodying scenes from the film Inglourious Basterds, making Holocaust-related puns while shooting firearms, and marching to the German song “Erika,” which dates to the Nazi era.
Herrera has rejected accusations that the material reflects sympathy for Nazi ideology. In public comments responding to the backlash, he said the clips were intended as satire mocking Nazis and argued that critics were taking jokes out of context.
The controversy comes at a particularly sensitive time for Jewish communities and supporters of Israel, as antisemitic rhetoric and Holocaust distortion remain persistent concerns. Jewish organizations have long warned that casual or comedic references to Nazi symbolism risk trivializing the genocidal ideology responsible for the murder of six million Jews during the Holocaust.
Herrera became the presumptive Republican nominee for the border district after incumbent Rep. Tony Gonzales withdrew from the race amid an ethics investigation into allegations that he had a relationship with a staffer who later died by suicide. Gonzales previously repudiated Herrera as a “known neo-Nazi.”
Texas’s 23rd District stretches hundreds of miles along the US–Mexico border and has historically been competitive, though Republicans have held the seat in recent years. Herrera is expected to face Democratic nominee Katy Padilla Stout in the general election this fall. Controversies surrounding Herrera’s past comments have rendered him vulnerable in the district, according to polls. A Democratic PPP poll revealed that 58 percent of respondents indicated concern over Herrera’s ownership of Mein Kampf. The survey results also show Herrera maintaining a narrow lead, 42 percent to 40 percent, over his presumptive opponent.
Trump’s endorsement ensures the race will draw national attention, while the controversy surrounding Herrera’s past content is likely to remain a focal point in the campaign, particularly as Jewish leaders and pro-Israel advocates have criticized rising antisemitism within the Republican Party.