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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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The post Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it. appeared first on Jewish Telegraphic Agency.
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The cafe as a refuge of Jewish culture
די ייִדישע ליטעראַטור האָט אַ היפּשע צאָל בולטע אימאַזשן פֿון קאַפֿע־הײַזער: מנחם–מענדלס שילדערונג פֿון „קאַפֿע פֿאַנקאָני‟ אין אָדעס; די ניו־יאָרקער „קיביזאַרנע‟ און „קאַפֿע–ראָיאַל‟ אױפֿן איסט–סײַד.
אָפֿט לײענט מען די דאָזיקע באַשרײַבונגען װי טשיקאַװע עפּיזאָדן, אָבער אין דער אמתן איז דאָס קאַװע־הױז געװען אַ װיכטיקע קולטורעלע אינסטיטוציע, בפֿרט ערבֿ דער צװײטער װעלט־מלחמה. דאָס בוך פֿון פּראָפֿעסאָר שחר פּינסקער, ”A Rich Brew“ [אַ גוט געקאָכטע קאַווע] האָט אַן אַמביציעזן אונטערקעפּל: „װי אַזױ די קאַפֿע־הײַזער האָבן געשאַפֿן די מאָדערנע ייִדישע קולטור‟. װען מען לײענט איבער דעם װאָגיקן באַנד זעט מען בפֿירוש, אַז די קאַפֿע־הײַזער אין אײראָפּע, אַמעריקע און ארץ־ישׂראל זײַנען געװען זײער אַ פּראָדוקטיװ אָרט, װוּ מען האָט געשריבן, געלײענט, געשמועסט און אַ סך זיך געאַמפּערט װעגן דער מאָדערנער ייִדישער קולטור.
די ליבע־געשיכטע צװישן ייִדן און קאַפֿע־הײַזער הײבט זיך אָן אין בערלין אינעם אַכצנטן יאָרהונדערט. „דאָס געלערנטע קאַפֿע־הױז‟ איז געװען אַ נײַער לאָקאַל, װוּ די בערלינער אינטעליגענץ האָט זיך געקאָנט טרעפֿן, לײענען צײַטונגען, שפּילן שאַך און שמועסן. צװישן די אַרײַנגײער אין דעם קאַפֿע־הױז איז געװען משה מענדלסאָן, דער „פֿאָטער‟ פֿון דער בערלינער השׂכּלה. קאַװע איז געװען כּשר און דאָס קאַפֿע־הױז האָט ניט געהאַט קײן קריסטלעכן טעם. דװקא דאָ האָט מענדלסאָן פֿאַרטראַכט זײַנע פּובליקאַציעס, װאָס זײַנען געװאָרן די בימה פֿאַר זײַנע משׂכּילישע אידעען.
די בלי־תּקופֿה פֿון ייִדישע קאַפֿעען האָט געדױערט פֿון סוף-19טן יאָרהונדערט ביזן חורבן. פּינסקער פֿירט דעם לײענער אױף אַ רײַזע איבער די װיכטיקסטע צענטערס פֿון דער מאָדערנער ייִדישער קולטור: אָדעס, װאַרשע, װין, בערלין, ניו–יאָרק און תּל־אָבֿיבֿ. ער האָט באַאַרבעט אַ ריזיקן מאַטעריאַל פֿון פֿאַרשידנאַרטיקע מקורים און אים מגולגל געװען אין אַ פֿאַרכאַפּנדיקער לעקטור. דאָס דאָזיקע בוך װעט זײַן סײַ ניצלעך פֿאַר די פּראָפֿעסיאָנעלע פֿאָרשער פֿון ייִדישער און העברעיִשער קולטור און ליטעראַטור, סײַ אינטערעסאַנט פֿאַרן ברײטן עולם.
דער װאַרשעװער „פֿאַראײן פֿון ייִדישע ליטעראַטן און זשורנאַליסטן‟ אױף טלאָמאַצקע 13 איז געװען דער סאַמע באַרימטסטער ייִדישער ליטעראַרישער קלוב, באַשריבן אין צענדליקער זכרונות און בעלעטריסטישע װערק. אָבער דאָס איז ניט געװען דאָס ערשטע ייִדישע קאַפֿע־הױז אין װאַרשע. קאַפֿעען זײַנען געװאָרן פּאָפּולער אינעם אָנהײב צװאַנציקסטן יאָרהונדערט, װען װאַרשע איז געװאָרן אַ מאַגנעט פֿאַר אָרעמע יונגע אינטעליגענטן, און בפֿרט ליטװאַקעס. אײניקע פֿון זײ האָבן געחלומט װעגן אַ ליטעראַרישער קאַריערע אױף ייִדיש אָדער העברעיִש. זײ האָבן זיך געפֿילט הײמיש בײַ יחזקאל קאָטיקן, דעם מחבר פֿון באַרימטע זכרונות װעגן דעם ייִדישן לעבן אין רוסלאַנד אינעם נײַצנטן יאָרהונדערט. מען פֿלעגט דאָ זיצן שעהען לאַנג און לײענען צײַטונגען, שמועסן װעגן ליטעראַטור און פּאָליטיק און אַפֿילו פֿירן געשעפֿטן. דערצו נאָך זײַנען די קאַפֿע–הײַזער װינטערצײַט געװען װאַרעם, װאָס איז אױך געװען װיכטיק פֿאַר די אָרעמע באַזוכער.
אָן װאַרשעװער קאַפֿעען, און על–אחת–כּמה–וכמה אָן דעם שרײַבערקלוב אױף טלאָמאַצקע 13, װאָלט די ייִדישע ליטעראַטור אַװדאי געװען אָרעמער און שיטערער. פּינסקערס בוך איז װי אַ מין ייִדישע ליטעראַטור־געשיכטע, װאָס באַטראַכט די טעמע פֿונעם שטאַנדפּונקט פֿון קאַפֿע־טישן. די װאַרשעװער קאַפֿעען זײַנען געװען װיכטיק ניט נאָר פֿאַר „ייִדישע‟ ייִדן, נאָר אױך פֿאַר אַזעלכע, װאָס האָבן געשריבן אױף פּױליש, װי יוליאַן טובֿים אָדער אַנטאָני סלאָנימסקי.
דער עפּילאָג פֿון דער װאַרשעװער ייִדישער קאַפֿע־קולטור האָט זיך אױסגעשפּילט אינעם געטאָ, װוּ עס זײַנען אױך געװען עטלעכע קאַפֿעען: „דער געטאָ־קאַפֿע איז אַ קאָמפּליצירטער אָרט פֿון קאָלאַבאָראַציע, קולטורעלן לעבן, קאָמערץ און עליטיזם,‟ שליסט פּינסקער זײַן קאַפּיטל װעגן װאַרשע.
אין װין און בערלין זײַנען געצײלטע קאַפֿעען געװאָרן אַ מקום־מקלט פֿאַר ייִדישע אימיגראַנטן און פּליטים, װאָס זײַנען לרובֿ געקומען נאָך דער ערשטער װעלט־מלחמה. די דאָזיקע דײַטשיש–רעדנדיקע הױפּטשטעט האָבן צו יענער צײַט שױן געהאַט פֿאַרמאָגט אַ רײַכע קולטור פֿון ליטעראַרישע און קינסטלערישע קאַפֿעען. בײַ אַ סך ייִדישע ליטעראַטן זײַנען די קאַפֿעען געװאָרן „סטאַנציעס אױף דעם טראַנס־נאַציאָנאַלן זײַדן־װעג‟ פֿון עמיגראַציע, װאָס האָט זײ סוף־כּל–סוף געבראַכט קײן אַמעריקע אָדער ישׂראל. דערבײַ האָבן זײ מיטגעבראַכט שטיקלעך פֿון דער דאָזיקער קולטור מעבֿר־לים, קײן ניו־יאָרק און תּל־אָבֿיבֿ. די ניו־יאָרקער קאַפֿעען װערן געשילדערט אין דער אַמעריקאַנער ייִדישער ליטעראַטור, װי למשל „שלומס קאַפֿע‟ אין דוד איגנאַטאָװס ראָמאַן „אין קעסלגרוב‟. איגנאַטאָװ שילדערט דעם דאָזיקן לאָקאַל װי אַן „אָרט פֿון קאָנפֿראָנטאַציע צװישן פֿאַרשידענע השׂגות װעגן דער ייִדישער ליטעראַטור‟. ניט װײניק הײסע סיכסוכים האָט מען דאָ געפֿירט אױך װעגן דער ראַדיקאַלער פּאָליטיק.
צום שלוס שרײַבט פּינסקער: „די שטאָטישע קאַפֿעען האָבן געדינט ניט נאָר װי צענטערס פֿון מיגראַנטישע קולטורעלע נעצװערק, אָבער אױך װי אַ מקום–מקלט פֿאַר הײמלאָזע מענטשן, פֿאַר קאָסמאָפּאָליטישער פֿילשפּראַכיקײט, װאָס איז געװען אין געפֿאַר פֿון צעשטערונג מצד די נאַציאָנאַליסטישע אידעאָלאָגיעס.‟ אָבער הײַנט, איז פּינסקער משער, שפּילן די קאַפֿען מער נישט אַזאַ חשובֿע קולטורעלע ראָלע. „פֿײסבוק‟ און אַנדערע װירטועלע לאָקאַלן האָבן איצט פֿאַרנומען זײער אָרט.
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Iran Loses Contact With Palestinian Terror Proxies Amid US-Israel Strikes: Report
Smoke rises following an explosion, after Israel and the US launched strikes on Iran, in Tehran, Iran, March 3, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
The Israeli-American offensive targeting Iran’s military and security apparatus has led to a loss of communications between the Iranian regime and its Palestinian terrorist proxies, according to a new report.
Palestinian factions both in and outside of Gaza, especially Hamas and Islamic Jihad, have lost contact with Iran’s Islamic Revolutionary Guard Corps (IRGC) since the US and Israel began launching large-scale strikes against Iran this past weekend, the Arabic newspaper Asharq Al-Awsat reported on Tuesday.
It remains unclear whether the IRGC officials responsible for dealing with the Palestinian terrorist groups were killed in the strikes or are operating with special safety measures. However, sources told Asharq Al-Awsat that the Iranian commanders conveyed messages in different ways during last June’s 12-day war with Israel, indicating a disruption in reliable communication channels during the current conflict.
The US and Israel have killed dozens of top Iranian officials over the past few days of military action.
“Normally, messages are transmitted in encrypted ways, either electronically or in other ways. Since the beginning of this war, no messages have been received,” the Palestinian sources said.
Iran has long supported and expanded its regional network by providing financial and military assistance to its terrorist proxy groups, including the Houthis in Yemen, Hamas and Islamic Jihad in Gaza, and Hezbollah in Lebanon, among others.
Palestinian factions — particularly Palestinian Islamic Jihad and smaller groups — have been facing a severe financial crisis for months amid a sharp decline in Iranian support, as Tehran grapples with mounting international sanctions and domestic crises that have constrained its ability to sustain funding, arming, and training for its terrorist networks.
Even prior to the Israeli-American strikes, Palestinian sources told Asharq Al-Awsat that they feared “the collapse of the Iranian regime, which would mean the end of support without return.”
The consequences are expected to be significant but less severe for Hamas, which has been ramping up efforts to rebuild its military capabilities and maintain tight control inside the Gaza Strip through a brutal crackdown on internal opposition, reflecting its broader network of support compared with Islamic Jihad and other smaller factions that remain heavily dependent on Iranian backing.
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Support for Israel, Trump Gaza Peace Plan Remains High Among US Voters, New Poll Finds
Pro-Israel rally in Times Square, New York City, US, Oct. 8, 2023. Photo: REUTERS/Jeenah Moon
A new national survey suggests that American support for Israel remains resilient overall but with notable generational divides that could shape the future political landscape.
According to the February 2026 Harvard CAPS / Harris Poll, strong majorities of US registered voters back policies aligned with Israel’s security posture and express approval of President Donald Trump’s handling of the conflict in Gaza. At the same time, the data shows that support for Israel fluctuates significantly depending on age.
Notably, the survey was conducted last week on Wednesday and Thursday, just before the US and Israel launched their military campaign against Iran over the weekend.
Among respondents, 73 percent of voters say they support Trump’s Gaza deal framework. The proposal, aimed at restructuring governance and stabilizing post-war conditions in Gaza, commands bipartisan backing in the poll’s toplines.
The plan calls for the dismantling of Hamas’s military and political control, the establishment of an interim administrative authority backed by regional Arab partners, and a major internationally funded reconstruction effort. Trump has also emphasized expanding normalization between Israel and Arab states, building on the Abraham Accords, as a cornerstone of long-term stability, while maintaining Israel’s security oversight during a transitional period.
Voters appear to prioritize stability and deterrence, responding favorably to an approach framed around preventing Hamas from reasserting control and reinforcing Israel’s long-term security.
The poll shows that a clear majority of Americans continue to side with Israel over Hamas and support Israel’s right to defend itself. However, support levels vary considerably by age group.
Older voters, particularly those over 55, show the strongest pro-Israel sentiment, with large majorities backing Israel’s military actions and expressing sympathy with Israel over the Palestinians. Voters between 35 and 54 also lean pro-Israel, though by narrower margins.
The sharpest contrast appears among younger voters. Americans under 35 remain more divided, with significantly lower levels of sympathy toward Israel and greater skepticism about its military campaign in Gaza. While even in this group Israel retains meaningful support, the margins are slimmer and opposition more vocal.
The generational gap reflects broader cultural and media consumption differences, as well as the impact of campus activism and social media narratives. Yet the topline remains clear: despite softness among younger voters, Israel continues to command majority support nationwide.
Further, strong and stable majorities support Israel over the Hamas terrorist group. According to the survey, 71 percent of Americans support Israel over Hamas. However, support for Israel heavily fractures along age lines. Per the poll, 82 percent of those over 55 years old support Israel, compared to only 62 percent between the ages 35-44. However, a striking 58 percent of those between the ages 18-24 support Hamas over Israel, indicating a groundswell of backing for a foreign terrorist organization among American youth.
In the nearly two-and-a-half years following the Hamas-led Oct. 7, 2023, massacre across southern Israel, support for the Jewish state has seen significant declines across political and age lines in the US. Younger Americans, particularly, have largely turned against Israel. The increasingly tense relationship between Israel and US voters has become a flashpoint in Democratic primaries, with liberal political hopefuls increasingly vowing not to accept support from the American Israel Public Affairs Committee (AIPAC), the preeminent pro-Israel lobbying group in the US.
The February poll was conducted among 1,999 registered voters, with a margin of error of ±2 percentage points.