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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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University of Michigan will have a leader who defended pro-Palestinian protesters in court
A civil rights attorney who defended pro-Palestinian protesters in court and made social media posts viewed as pro-Hezbollah and antisemitic, has won his bid for the University of Michigan Board of Regents.
Michigan is one of a few states in which voters play a direct role in choosing university overseers. As a regent, Amir Makled (D) will help oversee expenditures at the university where his clients, the student protesters, were arrested. The position is unpaid and carries an eight-year term. Democrat Paul Brown won the other seat up for election, maintaining the board’s 6-2 Democratic majority.
Makled beat out Republican challenger Lena Epstein, who is Jewish and previously identified as a “Jewish Messianic believer of Christ,” but recanted the statement and later said she was “100% Jewish.” Mainstream Judaism does not accept Messianic Jews because they believe in the divinity of Christ and try to convert Jews to Jesus.
Epstein told the Forward in an April interview that the Democrats had handed her an opportunity to win the seat by endorsing Makled, who was facing intense scrutiny. In one of his controversial posts, Makled called Hezbollah leader Hassan Nasrallah a “martyr” after he was killed by Israeli strikes in 2024. He lost an endorsement from Service Employees International Union for the posts and later deleted them.
In the regents race, voters picked up to two of six candidates, with the top two winning. Makled received 25.6% of the vote while Brown received 27.2%. Epstein received 22.2% while her fellow Republican Michael Schostak received 22.6%.
Makled’s election comes as part of a wave of Democratic Party wins, including in Michigan, which elected as Senator Abdul El-Sayed (D), who also faced severe backlash for statements related to Israel and Gaza and for appearing alongside streamer Hasan Piker, who has been accused of antisemitic rhetoric.
Israel played a major role in the rhetoric surrounding Michigan’s midterms. But voters, including 60% of Jewish voters that voted for El-Sayed according to early exit polls, favored sharp critics of the Jewish state to candidates in support of it.
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This grandson of Holocaust survivors is headed to Congress. The ADL has concerns about his antisemitism record.
The election of Daniel Biss, a Jewish critic of Israel, to an Illinois congressional seat Tuesday has sparked a public feud between the Anti-Defamation League and the liberal Zionist group J Street over whether the ADL remains a credible voice in the fight against antisemitism.
After Biss, the former Jewish mayor of Evanston, Ill., won his seat Tuesday night, the ADL Midwest took to social media to express “serious concerns” about Biss’ “approach to antisemitism.”
J Street, which had endorsed Biss, hit back, noting that Biss is the grandson of Holocaust survivors and calling the ADL’s statement “a shanda,” the Yiddish word for disgrace.
“It is hard to read this statement without wondering how far the ADL has drifted from the organization it once was – a gold standard in our community for standing up against bigotry, hatred and discrimination,” J street wrote on X.
Biss, who speaks Hebrew and spent childhood summers in Israel, was elected with 75% of the vote in a district where 11% of the electorate is Jewish.
“It saddens me to watch the ADL, once a preeminent civil rights organization, devolve into an entity that traffics in fear, intimidation and extremism,” Biss wrote in a statement to the Forward. “This kind of rhetoric does nothing to keep the Jewish people safe—in fact, it undermines that very cause.”
The ADL has long faced scrutiny from critics who view the watchdog group as labeling too broad a swath of Israel criticism as antisemitic, while less forcefully condemning antisemitism when it comes from the political right.
“Our statement speaks for itself,” an ADL spokesperson wrote in an email to the Forward.
In its statement, the ADL pointed to a specific set of concerns involving Biss’ record as mayor of Evanston, Illinois, the college town home to Northwestern University.
Biss did not provide Evanston police support that Northwestern requested after reported “antisemitic conduct” at the Gaza war encampment on campus in April 2024, the ADL said, “raising serious questions about whether the safety, dignity, and equal access of Jewish students were treated with the urgency they required.”
Biss has defended his decision not to dispatch police to the encampment, writing in response to a congressional inquiry that forcibly clearing the protest would have gone against police department advice and suppressed “constitutionally protected speech.”
The ADL also said that Biss “dismissed scrutiny of his response as a politically motivated attack fueled by AIPAC, rather than substantively addressing the concerns raised by Jewish students and community members.”
Biss made opposition to AIPAC a central theme of his primary campaign for Congress after the hardline pro-Israel lobbying group spent millions opposing him and supporting another candidate, state Sen. Laura Fine.
In an interview with the Forward in March, Biss said it was “absurd” that AIPAC opposes imposing any conditions on U.S. military aid to Israel. “And then try to enforce it with millions of dollars of dark money, is certainly bad for democracy and bad for our politics here in America,” Biss added.
At the same time, Biss faced pressure to his left on Israel in the primary, defeating Kat Abughazaleh, a Palestinian-American who has characterized Israel’s conduct in Gaza as a genocide. Biss, who has described himself as a progressive Zionist, declined to use the word genocide, despite repeated calls from Abughazaleh to do so.
In a March op-ed in The Nation, Biss wrote that he believed he was one of AIPAC’s top targets partly because “I’m the grandson of Holocaust survivors. My mother is Israeli. My extended family lives in Israel. AIPAC knew that they couldn’t dismiss me as anti-Israel or antisemitic.”
The ADL also criticized Biss for supporting the repeal of an anti-BDS law, which bars Illinois from investing public pension funds in companies that boycott Israel. That position, the ADL said, “raises additional concerns about his willingness to stand against efforts to isolate and delegitimize the Jewish state.”
In an April Substack post explaining his position, Biss said that he personally opposes the global movement to boycott Israel, but he does not believe the government should “stop people from using their economic agency to advocate for their values.”
Biss will succeed Rep. Jan Schakowsky, a Jewish lawmaker who represented the district for nearly three decades and was also an outspoken critic of AIPAC.
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At the Vatican, two elderly men — one Jewish, one Catholic — exchange gifts and mutual admiration
On Wednesday, two senior citizens, Robert Zimmerman, 85, a Jew originally from Minnesota, and Robert Prevost, 71, a Catholic of Chicago, had a brief meeting at the younger man’s office in central Italy.
Sources on the scene report that Zimmerman was in town for business and Prevost, who goes professionally by Leo, had recently cited Zimmerman’s work in the preface to a book about nuclear disarmament.
Both men dressed in uniform, looking a bit Spy Vs. Spy, with Zimmerman in a black hoodie and Prevost in white with a small white skull cap. The confab was brief, a bulletin from Prevost’s workplace reported, consisting of “greetings and a few lighthearted exchanges.”
Prevost gifted Zimmerman with prayer beads, and Zimmerman presented Prevost with a copy of his memoir, published under his pen name, Bob Dylan.
While Zimmerman was raised in a Jewish home, he had, for a time in the late 1970s to early 1980s, converted to born-again Christianity, confounding many.
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