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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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Georgia voters decide the future of Jon Ossoff, a Jewish Democrat who increasingly criticizes Israel
(JTA) — Jewish voters in Georgia went to the polls on Tuesday to choose between Democratic Sen. Jon Ossoff, who has increasingly criticized Israel, and Republican Rep. Mike Collins, his pro-Israel challenger with ties to white nationalists.
Ossoff, who is Jewish, called Collins a “notorious bigot, antisemite, and extremist” during the bitterly fought election. Collins said that Ossoff “caved to the radicals” by voting to halt certain arms shipments to Israel.
Ossoff’s voting record on Israel has captured a shift in the Democratic party. While he has supported measures to boost Israeli defense systems, he also became one of the first Senate Democrats to vote for blocking offensive weapons sales to Israel in 2024, as the country’s military conduct in Gaza drove mounting opposition.
In contrast, Collins has pledged continued military support for Israel and described the country as “a frontline partner against Iran and their partners in terror” in the Atlanta Jewish Times. A self-described “born again Christian,” Collins added that he supports Israel because “my faith tells me to and because it is the right policy for America.”
Collins’ campaign was mired in controversies surrounding his associates. One of his former staffers posted images of a swastika and a Ku Klux Klan robe online, while another partook in a group chat with prominent white nationalists that aimed to help an accused Holocaust denier. Collins’ son-in-law is a social media influencer who has promoted conspiracy theories that “Jews control our government” and called to deport all Muslims.
Ossoff took aim at those associations during the candidates’ two debates, saying that Collins “hired half the Third Reich to staff your congressional office” and was “unable to stop someone under your own roof from disseminating neo-Nazi propaganda while you run for the Senate.” Collins has said that he condemns antisemitism and does not support his son-in-law’s views.
Meanwhile, Ossoff’s vote against offensive weapons for Israel in November 2024 divided Georgia’s Jews. In an open letter, a coalition including Georgia synagogues, the Jewish Federation of Greater Atlanta, the local Anti-Defamation League chapter and the American Israel Public Affairs Committee told Ossoff they were “deeply disappointed” and the vote demonstrated that his “commitment to Israel’s security is not ironclad.”
An opposing letter from over 100 Atlanta Jewish leaders, including rabbis and heads of liberal organizations, thanked Ossoff for his vote. They said his position represented “a growing portion of the American Jewish community that believes that the US-Israel relationship should be grounded in our laws, national security interests and shared values.”
AIPAC, the pro-Israel lobby, attacked Ossoff and other senators who supported the bill in an advertising blitz. But Ossoff was backed by J Street, a liberal Jewish Middle East advocacy group, which spent $3 million on ads attacking Collins and other AIPAC-supported Republicans.
Ossoff subsequently voted for further measures in 2025 and 2026 to block sales of rifles, bulldozers and 1,000-pound bombs to Israel. Collins repeatedly attacked Ossoff for those votes, accusing the senator of giving in to “radicals” in the Democratic party who were “pushing the anti-Israel agenda.”
Ossoff has walked a tightrope between criticizing Israel and distancing himself from his party’s staunchest left flank. In his Oct. 8 debate with Collins, he was asked whether Israel committed genocide in Gaza, a charge made by a growing chorus of progressives. Ossoff cited Israeli war crimes while deferring to international courts.
“The question of genocide is a question of whether a government has the specific intent to destroy a national or ethnic group, and that is a question for the International Criminal Court,” Ossoff said. “There is no doubt in my mind that Israeli forces prosecuting the war in Gaza violated the law of armed conflict and international humanitarian law.”
Ossoff has also excoriated Trump’s decision to join Israel in a war with Iran. Like other Democratic candidates across the country, Ossoff accuses Trump of “lying a nation into war” and sending “prices soaring with his warmongering in the Middle East.”
Ossoff’s rising popularity has spurred speculation about his potential future as a 2028 presidential contender, though he said he has “zero interest in running for president.”
This article originally appeared on JTA.org.
The post Georgia voters decide the future of Jon Ossoff, a Jewish Democrat who increasingly criticizes Israel appeared first on The Forward.
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Why Nick Fuentes endorsed Democrats in the midterms
Nick Fuentes is a devoted conservative, open antisemite and far-right agitator. On his Rumble show, one of the most viewed on the streaming platform, he regularly calls for mass deportations, labels women the biggest threat to America, praises Hitler, slanders Black people as illiterate and blames Jews for a host of societal ills.
So why, on the morning of the 2026 midterm elections, did he post, “Get out and vote Democrat today?”
It sounds like a joke, which wouldn’t be out of the ordinary for the shockjock humor the far-right influencer employs. Fuentes paraded with MAGA flags on Boston University’s liberal campus when he was briefly enrolled there. He went to the Unite the Right rally in Charlottesville. He had dinner with the then-former president Trump alongside Kanye West. He celebrated the president’s win in 2024.
But Fuentes was not kidding. In his streams on Rumble, where he runs his podcast, America First with Nicholas J. Fuentes, he has been telling his followers, often called Groypers, to vote blue no matter who. He has done the same on X, where his once-banned account was reinstated when Musk bought the platform.
What changed his mind? Well, in large part, Israel.
Fuentes has been complaining for nearly a year now about Trump, for myriad reasons. On X, Fuentes harshly criticized Trump’s refusal to release the Epstein files and his failure to deport millions. He slammed the war with Iran. And, as ever, the streamer known for his antisemitism has speculated about Jewish influence on rightwing politicians and causes.
On a stream urging his followers once again to vote for Democratic politicians in congressional races, he said that Trump had failed to end the “genocide in Gaza” and had instead broken his promises not to start any new wars — and done so at Netanyahu’s bidding no less. Angrily, he pointed out that Trump had come into office with control of both the House and the Senate, and with the support of some of the most-desired demographics of American voters: young men.
“For the first time in like a quarter of a century, it was hip to be Republican. It was cool,” Fuentes said, recalling Trump’s win in 2024. But then, he argued, the Republican leadership blew it: “You lost the comedians, you lost the podcast bros, you lost the normies! Normies don’t like war with Iran. Normies don’t like 3.7% inflation!”
But don’t take Fuentes’ endorsement of Democrats as proof that the worst antisemitism now lies with the left; the influencer has been clear that he reviles the Democratic party and is still a right-winger. Not only is he an avowed white nationalist and antisemite, he is a devout traditionalist Catholic who does not believe women should be allowed to vote. However much he dislikes anything to do with Jews, he is not truly interested in uniting with anti-Zionist progressive candidates just because they criticize Israel. (He is, however, happy to endorse Amy Action, a blonde white Democrat, over the Indian Vivek Ramaswamy, who Fuentes called an “anchor baby.”)
Instead, he has said his Democratic endorsement is a tactical one, a way to steer and influence the Republican party to come closer to his Christian nationalist, antisemitic, closed borders ideology.
“James Talarico is a Satanic wicked disgusting figure. Abdul Rahman El-Sayed in Michigan is a lying scumbag. He’s trying to maintain this facade that he’s Woke 2.0, patriotic, just wants healthcare — he’s a Muslim socialist. Pure contempt for America and whites,” Fuentes said on a stream about the midterms. “These are some of the worst Democrats ever! But maybe that is the wake up call we are going to need as the anti-left opposition to put up some legitimately good candidates.”
If there is a blue wave on Tuesday night, as Fuentes predicts, he believes the Republican party will blame him for it — and he’s ready to accept responsibility. He did, after all, urge his followers to vote Democratic. But don’t be fooled; he won’t be pushing the Democrats to become groypers. Most likely, he’ll present himself and his followers as the natural successors to lead the Republican party in 2028.
The post Why Nick Fuentes endorsed Democrats in the midterms appeared first on The Forward.
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Capers Funnye wasn’t a ‘Black Jew’ — he was a good Jew
This morning, when I woke up, it was the first time in my entire life that my spiritual leader, my rabbi and my friend, was gone. People are born and die every day, and we live totally oblivious to that fact, but I feel the absence of this one human being almost on a cellular level. And the very person I would call to help me make sense of a time like this is the one who is gone.
Rabbi Capers Funnye wasn’t your typical rabbi. How could he be, though? After all, his congregation was full of Black folks and people of color. There were also some white congregants, but for the most part, his temple was a place created for people like me to have somewhere to go and practice Judaism freely without suspicion or judgment. Beth Shalom was established over one hundred years ago by Black Jews who knew at that time that they could actually be arrested here in America, in Chicago, for daring to say out loud that they were Jewish. I know that sounds unthinkable, but it’s a historical fact: It used to be illegal in Chicago for Blacks to claim that they were Jewish.
Rabbi Funnye dedicated his life to ensuring that Black Jews wouldn’t have their Jewishness questioned.
White Jews love to reminisce about the Civil Rights Movement and their close relationship to the Black community, and this coalition brought about monumental changes to American society. But those same white Jews who marched in Selma and rode buses to Mississippi had little to no interaction with Black Jews. We were nonexistent. A myth, if you will. Some people had heard that there were Black people who called themselves Jews, but no one had actually ever seen one or met one.
We were there, but just as other Jews had hidden before, we were hiding too. We worshipped in basements, living rooms, and the backs of storefronts. We were in the shadows until Rabbi Funnye came along. He was born to leave the world a better place than he found it, and that’s exactly what he did.
Rabbi Funnye was supposed to be an AME pastor, but the church didn’t need him. The synagogue, the Jewish people, did.
I used to joke with him that I’d known him so long I could remember when he had a full head of black hair. And I did. I can remember going to services and seeing him on the bimah on Shabbat. Even as a little kid, I recognized he was different. He had a voice that could command the attention even of a pew full of antsy five-year-olds. But he also had a smile so warm that we never felt scolded. When he spoke, people couldn’t help but listen, and eventually he started saying what people wanted and needed to hear.
I watched him rise from assistant rabbi to leader.He could teach Torah in a way that held the congregation’s interest, imparting important lessons while adding levity with razor-sharp wit and perfectly timed humor.
If I’d been born male, I probably would’ve wanted to be a rabbi my whole life. I wanted to be like him. But I was a girl, and that was unthinkable.
But he made me believe I could do things.
I can remember when he started to integrate the Chicago Jewish community. When we’d go to events like Shabbat dinners or Black and Jewish seders, he was unfazed by the whispers and stares when he’d ask where the tables were for those who were both Black and Jewish. While this made the rest of us uncomfortable and, for some, unwilling to ever go back into any room where we were treated as oddities, he was undeterred.
He went back, over and over again. He would not allow the existence of Black Jews to go unacknowledged any longer. And many of us went with him. I was one. I saw how he was treated at times by white rabbis and even just by people who were white and Jewish and still felt that somehow they were better than him. It would infuriate me, but not him. He’d smile, tell a joke or one of his signature stories that would completely disarm them.
And while the behavior of some of my white co-religionists would thoroughly anger me, Rabbi Funnye understood how to deal with bigotry and hate in other ways. He grew up in it. He knew how to rise above it. Another lesson learned. He never met hate with hate or derision with derision. He met it with love.
He knew that was the only way he could move us from the shadows and out of the margins, into the mainstream. And it was also the only way that he could show white Jews we were nothing to fear or exclude.
At times, his message wasn’t popular with Black Jews who wanted nothing to do with white Jews or with white Jews who weren’t ready to accept the fact that G-d made Black Jews too.
None of that changed the fact that it was the right one.
Chief Rabbi Funnye wasn’t a Black Jew. He was a good Jew. And that is the lesson that I, and hopefully all who knew him, will learn from his life.
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