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Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it.
NEW YORK (JTA) — Sidney Brustein, Jewish Hamlet?
Anne Kauffman thinks so. She made the comparison in a phone interview about the play she’s directing — a buzzy production of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” that opened on Monday at the Brooklyn Academy of Music starring Oscar Isaac and Rachel Brosnahan.
“One artistic director who was thinking of doing this [play] was like, ‘You know, it’s not like he’s Hamlet, but…’ And I thought, well, no, actually I think he is like Hamlet!” she said.
She added another take: “I feel like he’s Cary Grant meets Zero Mostel.”
Hansberry saw just two of her works produced on Broadway before her death from cancer at 34 in January 1965. Her first, “A Raisin in the Sun,” which follows a Black family dealing with housing discrimination in Chicago, is widely considered one of the most significant plays of the 20th century. The other, “The Sign in Sidney Brustein’s Window,” ran for a few months in the fall of 1964 until Hansberry’s death and has only been revived a handful of times since, all outside of New York.
Now, the star power of Isaac and Brosnahan is driving renewed interest in the play, which deals with weighty questions about political activism, self-fulfillment in a capitalist world, and racial and ethnic identity — including mid-century Jewish American identity.
The Brustein character, as Kauffman alluded to, is many things. A resident of Greenwich Village deeply embedded in that historic neighborhood’s 1960s activist and artistic circles, he is somewhat of a creative renaissance man. At the start of the play, his club of sorts (“it was not a nightclub” is a running joke) called “Walden Pond” has just shuttered and he has taken over an alternative newspaper. As the script reads, Brustein is an intellectual “in the truest sense of the word” but “does not wear glasses” — the latter description being a possible jab at his macho tendencies. Formerly an ardent leftist activist, he is now weary of the worth of activism and a bit of a nihilist. He’s in his late 30s and is a musician who often picks up a banjo.
Brustein is also a secular Jew, a fact that he telegraphs at certain key emotional and comedic moments. Others, from friends to his casually antisemitic sister-in-law, frequently reference his identity, too.
At the end of the play’s first half, for example, Brustein brings up the heroes of the Hanukkah story in talking about his existential angst — and his stomach ulcer. He has become belligerent to his wife Iris and to a local politician who wants Brustein’s paper’s endorsement.
“How does one confront the thousand nameless faceless vapors that are the evil of our time? Can a sword pierce it?” Sidney says. “One does not smite evil anymore: one holds one’s gut, thus — and takes a pill. Oh, but to take up the sword of the Maccabees again!”
Hansberry’s decision to center a white Jewish character surprised critics and fans alike in 1964 because many of them expected her to follow “A Raisin in the Sun” with further exploration of issues facing Black Americans, said Joi Gresham, the director of the Lorraine Hansberry Literary Trust.
“The major attack, both critically and on a popular basis, in regards to the play and to its central character was that Lorraine was out of her lane,” Gresham said. “That not only did she not know what she’s talking about, but that she had the nerve to even examine that subject matter.”
Hansberry’s closest collaborator was her former husband Robert Nemiroff, a Jewish New Yorker whom she had divorced in 1962 but maintained an artistic partnership with. Nemiroff was a bit Brustein-like in his pursuits: he edited books, produced and promoted Hansberry’s work, and even wrote songs (one of which made the couple enough money to allow Hansberry to focus on writing “A Raisin in the Sun”). But Gresham — who is Nemiroff’s stepdaughter through his second marriage, to professor Jewell Handy Gresham-Nemiroff — emphasized that his personality was nothing like Brustein’s. While Brustein is brash and mean to Iris, Nemiroff was undyingly supportive of Hansberry and her work, said Gresham, who lived with him and her mother at Nemiroff’s Croton-on-Hudson home — the one he had formerly shared for a time with Hansberry — from age 10 onward.
Instead, Gresham argued, the Brustein character was the result of Hansberry’s deep engagement with Jewish intellectual thought, in part influenced by her relationship with Nemiroff. The pair met at a protest and would bond over their passion for fighting for social justice, which included combating antisemitism. The night before their wedding, they protested the execution of Julius and Ethel Rosenberg, and they would remain highly involved in the wave of activism that blossomed into the Black-Jewish civil rights alliance.
“Bob and Lorraine met and built a life together at a place where there was a very strong Black-Jewish nexus. There was a very strong interplay and interaction,” Gresham said. “I think Lorraine was very influenced by Bob’s family, the Nemiroffs, who were very radical in their politics. And so there was a way in which she was introduced to the base of Jewish intellectualism and Jewish progressive politics, that she took to heart and she was very passionate about.”
Robert Nemiroff and Lorraine Hansberry were married from 1953-62. They are shown here in 1959. (Ben Martin/Getty Images)
Hansberry didn’t hesitate to criticize Jewish writers who said controversial things about Black Americans, either. When Norman Podhoretz wrote “My Negro Problem — And Ours,” an explosive 1963 article in Commentary magazine now widely seen as racist, Hansberry responded with a scathing rebuke. She also sparred with Norman Mailer, who once wrote an essay titled “The White Negro: Superficial Reflections on the Hipster.”
Gresham said Brustein’s nihilism represents what Hansberry saw in a range of Jewish and non-Jewish white writers, whom she hoped could be kickstarted back into activism. But Hansberry also nodded to the reasons why someone like Brustein could feel defeated in the early 1960s, a decade and a half after World War II.
“You mean diddle around with the little things since we can’t do anything about the big ones? Forget about the Holocaust and worry about — reforms in the traffic court or something?” Brustein says at one point in the play to a local politician running as a reformer.
Daniel Pollack-Pelzner, a Jewish scholar of literature who has written on Hansberry, said the resulting Brustein character is a very accurate depiction of a secular Jew at the time — both keenly attuned to prejudice in society and also lacking some understanding of the experience of being Black.
“I was just intoxicated that Hansberry could conjure that world, both so affectionately, but also so clear-sidedly that it seems like she can see the limitations of all of the characters’ perspectives,” he said. “But she also represents them with sympathy and humor.”
Kauffman, who also helmed a revival of the play in Chicago in 2016, is impressed with how “fully fledged” the Brustein character is.
“Who are the cultural icons who have sort of articulated the Jew in our culture in the last 50 years or 60 years, you know?” she said. “Brustein is not a caricature of a Woody Allen character, he’s not even ‘Curb your Enthusiasm’ or a Jerry Seinfeld character. He’s a fully drawn character.”
Isaac, who is of mainly Guatemalan and Cuban heritage, has played Jewish characters before, including a formerly Orthodox man in an Israeli director’s remake of the classic film “Scenes From a Marriage.” In the lead-up to this play, he has largely avoided getting caught in headlines focused on the “Jewface” debate, over whether non-Jewish actors should be allowed to play Jewish characters on stage and screen.
But when asked about the responsibility of playing a Jewish character in a New York Times interview, Isaac referenced the fact that he has some Jewish heritage on his father’s side.
“We could play that game: How Jewish are you?” he said to interviewer Alexis Soloski, who is Jewish. “It is part of my family, part of my life. I feel the responsibility to not feel like a phony. That’s the responsibility, to feel like I can say these things, do these things and feel like I’m doing it honestly and truthfully.”
When Kauffman directed a version of the play at the Goodman Theater in Chicago in 2016, her lead actor had “not a single drop of Jewish heritage…in his blood,” and she said she had to convey “what anger looks like” coming from a Jewish perspective. Working with Isaac has been different — instead of starting at a base of no knowledge, she has been pushing for more of an Ashkenazi sensibility than a Sephardic one.
“I believe that his heritage leans, I’m guessing, more towards Sephardic. And mine is pure Ashkenazi,” she said. “We sort of joke: ‘[The part] is a little bit more Ashkenazi than that, you know what I mean?’ Like, ‘the violence is actually turned towards yourself!’”
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When ‘Nuke Jews, Save Lives’ note was left at the Center for Jewish History, its message was a window into antisemitic thinking
As hate manifestoes go, this one was terse: “Nuke Jews, Save Lives.”
Our security team at the Center for Jewish History, where I serve as president, recently discovered a notecard bearing this hateful message by our front entrance, just blocks from Union Square in Manhattan.
The Center for Jewish History was created a quarter century ago to help scholars research the Jewish past and disseminate that knowledge to the public. An institution that is sometimes likened to the national archives of Diaspora Jewry, the Center houses more than 65 million documents and artifacts painstakingly collected by its distinguished partner organizations. Countless books and articles on Jewish history have been published using this archival source material, all pursuing the goal of historical understanding.
This hateful note was a direct rebuke to our mission and a window into antisemitic thinking. The declaration confirmed antisemites’ tendency to see their hatred as virtuous. By claiming that “saving lives” was their ultimate goal, the author sought to avoid any suspicion of ulterior motives. Hitler did something similar in Mein Kampf, writing that by combating the Jews he was “fighting for the work of the Lord.”
The historical record also teaches that while the charges brought by antisemites against Jews vary considerably, they serve a consistent function. Whatever threat Jews are accused of posing – whatever the reason why “lives” need to be “saved” – the accusation channels society’s deeper fears. These fears often differ between the left and right political positions, but they converge in the antisemite’s belief that a solution rests with solving the Jewish “problem.”
Jews have traditionally believed that understanding history can solve the problem of antisemitism. From antiquity to modernity, Jews have penned eloquent, historically informed rebuttals to antisemitic accusations, believing that public opinion can be swayed by truth. Whether Flavius Josephus’s reply to the hostile claims of the Egyptian scholar, Apion, in the first century C. E. or the Central Association of German Citizens of the Jewish Faith’s response to the Nazis in the 1930s, history shows that Jews have consistently sought to defend themselves through rational argument.
The Center for Jewish History is no different. We regularly organize public programs on a range of topics in the interest of fostering knowledge and dialogue. Of late, out of necessity, we have been sponsoring events that address the history of antisemitism.
Shortly before the hateful note was left on our doorstep, the Silicon Valley investor, Michael Moritz, was in conversation with The New York Times Company CEO, Meredith Kopit Levien, about his new book, Ausländer, which movingly chronicles the tragic story of his German Jewish family in the Nazi era. The book also raises discomforting comparisons about Jew hatred yesterday and today.
The event was a bittersweet affair. While we were gratified that our fully packed auditorium validated our institutional mission, the conversation’s main takeaway – that what was old is new again – was sobering.
That feeling was further compounded when we encountered the words, “Nuke Jews, Save Lives,” one week later. We could easily have thrown up our hands in despair at the futility of our mission. That, of course, would have served the antisemite’s goal.
Antisemitism’s impact is akin to that of the heckler’s veto. By wielding crude, simplistic slogans in the spirit of Der Stürmer’s tagline, “The Jews Are Our Misfortune,” antisemites use hate asymmetrically to undermine cultural and intellectual traditions assembled over centuries.
Antisemitism validates the core idea of Brandolini’s Law – that the work needed to refute calumnies dramatically exceeds the work needed to disseminate them. It calls to mind Edmund Burke’s remark in Reflections on the Revolution in France that “rage and phrensy will pull down more in half an hour, than prudence, deliberation, and foresight can build up in a hundred years.”
But my money is on archives.
The 65 million documents housed at the Center do not just numerically exceed the four hateful words left on our doorstep many times over. They testify to the authority of archives. Ever since they were invented in antiquity, archives have wielded tremendous power. Not for nothing does its Greek root, “arch,” denote “ruler” (as in “monarch”).
When belief in truth is challenged by a flood of lies, the archive offers a redoubt. It guards the facticity of history so that people of good faith can defend themselves against their enemies.
The campaign against antisemitism is complex and requires arguments and allies, resources and resolve. It cannot be won easily and may never be won decisively. But one thing is for sure: it cannot be won without facts. In this latest war, the archive can serve as an arsenal.
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NPR investigation finds evidence of widespread fraud at mall kiosks tied to Israeli skincare brand
They are a common feature at American shopping malls across the U.S.: skincare kiosks staffed by charming Israeli salespeople. For American Jews, they can be a place to practice your Hebrew, greet expats or play Jewish geography.
But for hundreds of shoppers, an experience that began with a smile and a free sample at one of those kiosks ended in thousands of dollars of unauthorized credit card charges, according to an investigation published Monday by NPR.
Drawing on court documents, online reviews, consumer complaints obtained through the Freedom of Information Act and interviews with more than 50 customers, NPR linked the apparent fraud to Mazal Group, a conglomerate of dozens of skincare brands owned by Eli Weingarten and Daphna Oded Weingarten, an Israeli American couple who live in the Los Angeles area.
Many of the company’s alleged victims were elderly, disabled or otherwise vulnerable to exploitation, NPR reported.
NPR reported instances of overcharging and forced purchases at thousands of independent kiosks, stores and spas selling Mazal products around the country. An elderly man with dementia in Michigan was unknowingly charged $42,000 for skincare products and devices, NPR reported; in Hawaii, a disabled woman wrote in a complaint to the state that a spa salesperson took her walker, and refused to let her leave for hours until she spent $2,600, NPR said.
A similar pattern was uncovered by the FBI at Mazal-connected kiosks a decade ago — which the agency referred to as a “credit card overcharge scheme.” That investigation culminated in more than a dozen guilty pleas and prison terms for two store owners, Shai Cohen and Omer Gur. Today, the company contracts with some 2,000 stores worldwide, according to a former employee quoted by NPR, though the exact number is unknown.
Mazal Group, which is headquartered in Chatsworth, Calif., responded to NPR’s questions by shifting responsibility for the overcharging onto individual store owners — but as the story was about to be published, the company terminated its own business license. Today, their headquarters bears the logo of Innovation Brands Inc., a company founded by the Weingartens in 2024.
Mazal ran dozens of skincare brands, including Voupre, Avinichi, Introstem, CbGäRDN, Venofye, Lionesse and Orogold Cosmetics.
Though the kiosks are independently owned — sometimes bearing the name of those brands — NPR obtained documents showing Mazal Group’s aggressive pricing recommendations, sometimes with markups of more than 100 times the wholesale cost.
For example, the company suggested selling Voupre’s Cannabis Caviar Transforming Mask for $3,000 — 130 times the wholesale price of $23. Luxury skincare brands rarely stretch the suggested retail price to even 20 times the wholesale cost, according to a retail expert quoted in the article. The products themselves would not have any price tag on them, making it easier for customers to be overcharged at checkout, former employees told NPR.
But NPR also said the makeup itself was a flawed product whose labels may have falsely advertised their contents. Lab testing paid for by NPR showed that a Mazal anti-aging cream called Voupre Anti-Aging Rescue Solution that claimed to contain Vitamin A and Vitamin E appeared to have neither.
Another element of the investigation involved immigration fraud. According to former employees, many kiosk salespeople were Israelis in the U.S. on tourist visas — a direct violation of the terms of the visa, which forbids performing labor or services for pay. When an NPR reporter posing as a prospective employee messaged a recruiter to ask whether it was okay if she only had a tourist visa, the recruiter reportedly said yes.
Mazal Brands could not be reached for comment.
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Talarico blames Netanyahu, not the Israeli people, for devastation in Gaza
(JTA) — James Talarico, Texas’ Democratic nominee for the U.S. Senate, said he holds Prime Minister Benjamin Netanyahu, rather than the Israeli people, responsible for civilian devastation in Gaza.
Talarico, a Texas state representative, is running neck and neck against Republican Attorney General Ken Paxton, in a race whose results could affect which party controls the Senate this November. Israel has been one of many sources of disagreement among the candidates, who have sparred on issues ranging from affordability to immigration to reproductive rights.
“I believe that Israel, like any nation, has a right to defend its people,” the candidate said while fielding questions on Wednesday at a CNN town hall. “But I don’t believe that Benjamin Netanyahu has a right to wage war against civilians or use collective punishment or restrict aid to civilians.”
A Texas Politics Project poll, issued by the University of Texas this week, showed Paxton trailing Talarico by 3 percentage points, with 47% to the Democrat’s 50% and a margin of error of 3.34 percentage points.
Talarico said in August that he supported stopping arms sales to the Netanyahu government and conditioning military aid “on ending the death and the destruction in Gaza and the West Bank.” He declined to call the crisis “genocide,” noting that the term is being litigated in the International Court of Justice. But he said he’d “use every bit of our nation’s diplomatic and financial leverage to protect the lives of Palestinians.”
When he was pressed further by Rabbi Holly Levin Cohn of Congregation Beth El Binah in Dallas during the town hall, Talarico stressed the importance of directing his criticisms “toward Prime Minister Benjamin Netanyahu and not the Israeli people.”
Addressing Israelis’ trauma, Talarico acknowledged that the Oct. 7, 2023, Hamas attack on Israel “was the deadliest day for the Jewish people since the Holocaust.”
Cohn pushed back on his comments regarding aid restrictions, noting Israeli support of humanitarian efforts and arguing that there’s much more going on in the country than the media may be projecting.
Talarico told the rabbi he recognized that his “words carry weight” and gave her his word that he’s “going to continue to listen to all sides of this conflict.” He also expressed hope that “we can all come together to fight for a two-state solution where we have security for Israel and we have freedom and self-determination for Palestinians.”
Talarico also gave a “shoutout” to a local rabbi, Neil Blumofe at Congregation Agudas Achim in Austin. “I spent my first year of my seminary studies learning the Hebrew scriptures from a local rabbi,” he said. “Shout out Rabbi Neil Blumofe!” Cohn grinned.
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