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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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Netanyahu Applauds Eurovision Runner-Up Noam Bettan: ‘Everyone Is Very Proud of You’
Noam Bettan, representing Israel, performs “Michelle” during the dress rehearsal 2 of the Grand Final of the 2026 Eurovision Song Contest, in Vienna, Austria, May 15, 2026. Photo: REUTERS/Lisa Leutner
Israeli Prime Minister Benjamin Netanyahu congratulated Israeli singer Noam Bettan on finishing in second place in this year’s Eurovision Song Contest on Saturday, despite boos and anti-Israel protests in the audience and boycotts from several countries due to Israel’s participation.
“Noam, what an amazing victory, what an achievement, and how much pride, strength, confidence, and artistry,” Netanyahu told the 28-year-old singer during a phone call. “You are on a path to greatness. In any case, you have the gratitude of the entire nation. Everyone is very, very proud of you.”
The prime minister also applauded the singer for standing “tall against those hollow verbal potshots.”
“You did it exactly as it should be done,” Netanyahu told Bettan. “You did a wonderful job. And I saw that the audience, as usual, was more supportive than the judges. Well done to you. Keep moving forward, rise and succeed, and many blessings.”
During their call, Bettan thanked Netanyahu for his kind words and said it was “a great privilege” to represent Israel in the Eurovision Song Contest, “to bring honor, to represent us in a positive light, and to bring some light and goodness into this world.”
“And I have a certain hope, because I felt there was a very great unity tonight, and I hope so much that it stays with us and continues in two days, in a year, and in 50 years,” Bettan noted. “I want unity so much, and I truly hope it continues.”
Prime Minister Benjamin Netanyahu spoke with singer Noam Bettan, who represented Israel in the Eurovision Song Contest and won an impressive second place in the competition > >https://t.co/dxTAe2NiRQ pic.twitter.com/lVMZYl2JlQ
— Prime Minister of Israel (@IsraeliPM) May 17, 2026
The 2026 Eurovision Song Contest took place at the Wiener Stadthalle in Vienna, Austria.
Bulgaria won with the upbeat dance track “Bangaranga,” performed by Dara. The victory marked the first ever Eurovision win for the Balkan nation, which will host next year’s competition. Bettan finished second with “Michelle,” a trilingual song in Hebrew, French, and English that is about putting oneself first when in a toxic relationship.
Anti-Israel protesters who disrupted Bettan’s performance during the semifinals last week were removed from the audience inside Vienna’s Wiener Stadthalle after chanting “stop, stop the genocide” and “Free, free Palestine.”
“One audience member, close to a microphone, loudly expressed their views as the Israeli artist began his performance, and during the song, which was heard on the live broadcast,” Austrian national broadcaster ORF and the European Broadcasting Union, which organizes the Eurovision, said in a joint statement about the incident. “They were later removed for continuing to disturb the audience. Three other people were also removed from the arena by security for disruptive behavior.”
Bettan told Reuters he also heard boos from a few pro-Palestinian protesters in the audience when he first went on stage for the semifinals.
Spain, Ireland, the Netherlands, Slovenia, and Iceland refused to participate in this year’s Eurovision because of Israel’s inclusion, in protest of the country’s military operation in the Gaza Strip targeting Hamas terrorists who orchestrated the deadly attack in southern Israel on Oct. 7, 2023.
Israel also finished second in the 2025 Eurovision Song Contest.
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Harry Styles Responds ‘Correct’ to Fan Shouting ‘Long Live Palestine’ at Amsterdam Concert
Harry Styles poses on the red carpet during for the BRIT Awards at the Co-op Live Arena, in Manchester, Britain, Feb. 28, 2026. Photo: REUTERS/Temilade Adelaja
British pop star Harry Styles on Saturday night interacted with a fan who shouted a slogan in support of Palestinians during the kickoff of his “Together, Together” world tour in Amsterdam.
The “Aperture” singer was performing in Amsterdam’s Johan Cruijff Arena on the opening night of his tour and stopped to adjust his earpiece on stage when an audience member shouted, “Viva, Viva Palestina!” which means “Long Live, Long Live Palestine” in Spanish. The former One Direction singer replied to the comment saying, “Correct.” A clip of the interaction was posted on social media.
One of the charity partners for the “Together, Together” tour is Choose Love, which provides humanitarian aid to Palestinians in the Gaza Strip and West Bank, including food and medical treatment.
The tour will include more than 60 performances around the world, including in The Netherlands, the United Kingdom, Australia, Mexico, and Brazil. Styles’ only shows in the United States will be 30 consecutive nights at New York City’s Madison Square Garden. The singer’s fourth solo album, “Kiss All the Time. Disco, Occasionally,” was released in March.
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Israel Warns of Escalating Terror Threat in West Bank as Iran, Turkey, Hamas Seek to Stoke Extremism
Israeli soldiers walk during an operation in Tubas, in the West Bank, Nov. 26, 2025. Photo: REUTERS/Mohamad Torokman
Israeli security officials have warned of a rapidly deteriorating security situation in the West Bank, citing deepening Iranian and Turkish involvement alongside Hamas efforts to expand terrorist infrastructure and orchestrate attacks across the territory.
According to the Israeli news outlet Walla, defense officials point to a growing role by Iran, Turkey, and Hamas in financing, directing, and sustaining terrorism, while also leveraging Gaza-linked networks to expand coordination, incitement, and operational activity across the West Bank.
With Israeli communities in the West Bank steadily expanding, the local military command is under significant strain, operating with 22 battalions while confronting a wide range of security challenges, including dismantling terrorist infrastructure, disrupting terrorist financing channels, locating weapons caches, protecting settlements, and stopping arms smuggling from Jordan.
Israeli officials have previously warned that large-scale terrorist attacks targeting local communities could serve as a destabilizing flashpoint amid the wars in Gaza and Iran.
Last year, Israeli forces uncovered documents suggesting Hamas is actively preparing plans for raids on settlements in the area.
Israel’s domestic intelligence agency, the Shin Bet, arrested six Arab Israeli citizens last month suspected of transferring millions of shekels from Hamas’s Turkish branch into the West Bank as part of an underground terrorist financing network believed to have smuggled more than three million shekels to fund attacks against Israel.
Experts also point to a growing threat from the Jenin Brigades in the northern West Bank — an alliance of Palestinian Islamic Jihad and Hamas operatives that has transformed refugee camps into bases for shootings, bombings, and ambushes.
The group’s operations are reportedly sustained by a complex financing system that moves Iranian funds through Palestinian banking channels, siphons off Israeli-collected tax revenues, and makes use of international facilitators.
“By sustaining this West Bank front through Hamas and Palestinian Islamic Jihad networks, Tehran forces Israel to fight simultaneously across multiple fronts, drains resources that could otherwise consolidate gains in Gaza, and keeps the Palestinian issue politically radioactive enough to sabotage broader Arab-Israeli alignment,” Jose Lev Alvarez, a writing fellow at the Middle East Forum think tank, explained in a recent article.
“Tehran [then] advances its axis-of-resistance doctrine at minimal cost — no Iranian boots, no direct missile exchanges, just calibrated chaos designed to obstruct any credible day-after plan for Gaza and derail normalization agreements with Saudi Arabia or Gulf states demanding Palestinian stability,” he continued.
Last year, the Israel Defense Forces (IDF) warned that Iran was driving a growing terrorist threat in the West Bank, with concerns that Iranian-backed arms smuggling could enable an Oct. 7-style attack.
Israeli intelligence and security forces have since intensified operations across the territory amid fears that Iranian-supplied weapons are increasingly reaching Palestinian terrorists and escalating the risk of a large-scale assault.
Israeli intelligence assessments have also warned that terrorists operating in the West Bank are believed to possess weapons capable of breaching Israeli defenses, including what officials described as “standard Iranian weapons.”
According to Joe Truzman, a senior research analyst at the Foundation for Defense of Democracies (FDD), a Washington, DC-based think tank, Israeli officials should be closely monitoring the West Bank as Hamas regroups and rearms in the Gaza Strip after more than two years of war.
“Hamas and its allied factions understand that igniting violence in the territory would divert Israel’s attention during a critical time of rebuilding the group’s infrastructure in Gaza,” Truzman told The Algemeiner last year.
“The release of convicted terrorists to the West Bank under the [Israel-Hamas] ceasefire agreement may be a factor in the resurgence of organized violence in the territory,” he continued.
As of last February, Israeli security forces foiled nearly 1,000 terrorist plots over the past year, with senior military officials increasingly worried that the volatile situation in the West Bank could lead to a large-scale attack similar to Hamas’s Oct. 7, 2023, onslaught against Israeli settlements and communities near the security barrier.
According to a survey released last year by the Jerusalem Center for Security and Foreign Affairs, 70 percent of all respondents — and 81 percent of Jewish respondents — expressed fear of an Oct. 7-style attack coming from the West Bank. In contrast, 53 percent of Arab respondents said they were not worried about such an attack.
In response to these concerns, the IDF has established a special command to address potential threats in the West Bank and launched a nearly unprecedented counterterror operation in the northern part of the territory.