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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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With anti-Arab campaign ad, Netanyahu stoops to new moral and political lows
Israeli election campaigns have often been ugly. They have featured exaggeration, fearmongering and outright deception. But even by those standards, the first major campaign advertisement by Prime Minister Benjamin Netanyahu’s Likud party, posted on Netanyahu’s X account on Tuesday, managed to shock much of the country.
The AI-generated video depicts former military chief Gadi Eisenkot, who has become the standard-bearer for the opposition, walking through a sunlit field toward a young Jewish man before passing him by to embrace Mansour Abbas of Ra’am, the United Arab List, instead.
The young man looks strikingly like Eisenkot’s son, Gal, who was killed fighting in Gaza in late 2023 — although Likud insists he isn’t meant to. Strictly speaking, there is enough difference to sustain the protestations. The young man has longer, wavier hair than Gal Eisenkot did — just enough, perhaps, to preserve plausible deniability. Yet almost everyone I know believed they were watching a father joyfully approaching his slain son, seemingly restored to life, only to ignore him in favor of an Arab political leader at a time when Arab political participation in Israel is particularly contentious.
The only possible explanation: Likud wants their campaign to be as mean as possible. Or perhaps that they believe that anything that creates a buzz — and therefore distracts from the governing coalition’s disastrous and controversial policies, including a wildly unpopular recent legislative blitz — is a good thing.
And buzz there is. The perception that a father’s personal loss had been weaponized for electoral gain struck many as a line that simply should not be crossed. “This is Netanyahu, and this is his machine of incitement”, wrote Einav Zangauker, whose son was held hostage in Gaza by Hamas, on social media. “This isn’t politics,” Zangauker added, but rather “an attack on a bereaved father and an assault on his dignity. It is the lowest of the low.”
“I turn to elected representatives, activists, and all candidates from all parties, and demand that you do not cross red lines. Do not turn rivals into enemies,” Israeli President Isaac Herzog said. “I call on the people of Israel, in a clear voice: Remember that elections are not a civil war.”
But even if one puts aside the controversy surrounding the young man altogether, the advertisement remains deeply troubling. It is, at its core, an exercise in incitement against Ra’am — and, by extension, against the very idea that Arab citizens may legitimately participate in governing Israel.
Abbas himself accused Netanyahu of “trying to incite between different parts of society”; about a fifth of Israelis are Arab, and the ad was obviously trying to delegitimize collaboration with the parties who generally represent them.
From Likud’s perspective, that too is logical — so long as they ignore the goal of Israel remaining a democratic country in which component ethnic groups live in harmony. It’s logical because Arab parties have always been part of the opposition to Likud and the chances are high that Eisenkot might need them, even passively, to successfully craft a coalition after the Oct. 27 election.
This isn’t just dangerous. It ignores the essential role that Arab parties have played in building toward a strong Israeli future.
Ra’am, under Abbas, has been the most integrationist Arab party Israel has ever seen. Abbas broke with decades of Arab political orthodoxy by arguing that Arab citizens should seek influence through practical cooperation with whichever Zionist government Israelis elected. He has repeatedly recognized Israel as the nation-state of the Jewish people while demanding full equality for its Arab citizens.
Whatever one thinks of his politics, these choices have represented one of the boldest experiments in Jewish-Arab partnership since the state’s founding.
That experiment briefly succeeded. Ra’am joined Naftali Bennett and Yair Lapid’s coalition in 2021 and demonstrated that Arab participation in government could become something ordinary rather than revolutionary.
More awkward still for Likud, Netanyahu himself spent some weeks after the 2021 election attempting to persuade Abbas to support — or even participate in — his own coalition. Those negotiations failed for one principal reason: Far-right firebrand Bezalel Smotrich — now Netanyahu’s finance minister — refused to countenance a government dependent on an Arab party. Without Ra’am, Netanyahu lacked a majority.
It is therefore surreal to portray Eisenkot’s willingness to work with Ra’am as somehow beyond the democratic pale, when not so long ago, Netanyahu himself tried to do precisely the same thing.
Nor should anyone pretend that Arab parties suddenly became relevant because of Eisenkot. Since the emergence of today’s political blocs, Arab parties have almost invariably belonged to the anti-Likud camp. Any center-left coalition aspiring to govern has depended, directly or indirectly, on their parliamentary support. That is not a distortion of Israeli democracy. It is one of its enduring structural realities.
Which brings us to the larger significance of this episode.
Many Israelis have long predicted that this Likud campaign would barely concern policy at all. They expected, instead, an effort to delegitimize any prospective change government by portraying it as illegitimate because it relied on Arab parties. They expected renewed attempts to cast Arab political participation as inherently suspect. They expected emotional manipulation to substitute for argument and personal attacks to eclipse serious debate. Some feared renewed efforts to discourage Arab turnout and disqualify Arab parties from the ballot.
That appears to be exactly what they’re getting.
The remarkable thing is not merely that Likud produced this advertisement, but that doing so was effectively its first act of the campaign, which kicked off after the Knesset recently went into recess.
Before voters had heard competing visions for Israel’s economy, security or diplomacy, the country’s governing party chose to launch its campaign by inflaming fears about Arab political participation while employing imagery that countless Israelis immediately interpreted as mocking one father’s unbearable personal loss.
By the next day, competing ads using a similar aesthetic were put out by opponents of Netanyahu. One depicted Netanyahu on a similar field running past a soldier to hug a Haredi politician holding a sign that says — as many Haredi anti-draft protesters chant — “we’d rather die than serve.”
One reason AI is so attractive to political strategists is because it blurs responsibility. Images can be carefully engineered to evoke a conclusion while remaining just different enough to deny that such a conclusion was ever the intention. The technology offers something every spin doctor craves: emotional impact coupled with plausible deniability.
“I do not think we can allow this to continue,” lamented David Lau, a former chief rabbi of Israel, who has served in the military. “We must stop all these disputes, all this talk, and all these behaviors. This path does not lead to building anything. It does not lead to peace. It is a bad path, and I am even more concerned about the next generation.”
It is entirely possible that this advertisement will prove to have established the moral tone of the campaign. Israel deserves better.
The post With anti-Arab campaign ad, Netanyahu stoops to new moral and political lows appeared first on The Forward.
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Reed College agrees to sweeping reforms as part of Title VI antisemitism settlement
(JTA) — Reed College has agreed to a host of far-reaching institutional changes, including asserting that targeting Jewish Zionists will be considered discriminatory, in order to settle multiple federal antisemitism investigations, parties to the complaint announced Wednesday.
The settlement was announced by the Anti-Defamation League and the Brandeis Center for Human Rights Under Law, which jointly filed the complaint, under Title VI of the Civil Rights Act, which prohibits discrimination at any institution receiving federal funds. It comes as campuses across the country, facing threats of losing federal funding under the Trump administration, have demonstrated willingness to negotiate new antisemitism protections.
As part of the agreement, the private Portland, Oregon, liberal arts school says it will insert language into its discrimination policy asserting that “for many Jewish people, Zionism is integral to their religious, ancestral and/or ethnic Jewish identity,” and that “targeting Jews on the basis of their Zionist identity” will be considered discriminatory.
The school will also contract a third-party consultant to monitor and report on its effectiveness in adhering to antisemitism protections, role that is unusual in similar Title VI agreements. The agreement says Reed will “consider” the International Holocaust Remembrance Association’s working definition of antisemitism, which includes some criticisms of Israel, and implement antisemitism training for faculty and staff.
“We take concerns about antisemitism, and all forms of unlawful discrimination, seriously, and we will continue to support the well-being, safety, and success of every member of our community,” a Reed College spokesperson told the Jewish Telegraphic Agency in a statement acknowledging the agreement. Reed declined to comment further.
ADL CEO Jonathan Greenblatt and Brandeis Center officials praised the agreement in a release as a potential model for other colleges.
“We believe it should serve as a model for other schools,” Denise Katz-Prober, director of legal initiatives at the Brandeis Center, told JTA about the agreement. The required language in Reed’s discrimination guidelines, she said, is “very clear about what constitutes anti-Zionist conduct in violation of civil rights and in violation of the policy.”
“This outcome demonstrates how the Title VI process can work to effectively protect Jewish students,” Greenblatt said in his own statement.
Around 100 students at Reed College are Jewish, or about 7% of the total student body, according to estimates from Hillel International. A request for comment to the director of PDX Hillel, which serves Jewish students at Reed and others in the region, was not immediately returned.
The resolution stems from two anonymous Title VI antisemitism complaints from Jewish former Reed students, both filed in 2024 under the Biden administration. One of those cases related to a student whose dorm-room mezuzah was vandalized, and who herself was later pelted with rocks, during a pro-Palestinian demonstration in spring 2024. The student later left the school out of concern for her safety.
Both of the described acts would have already been considered violations of school policy for reasons unrelated to the student’s Jewish or Zionist identity. Brandeis’s Katz-Prober argued both should have also been considered in the context of her targeting by anti-Zionist activists.
“It might be difficult for someone to, at first glance, understand whether it was simply an assault or an assault motivated by bias,” she said. The case, she said, demonstrated how in some cases, “‘Zionist’ is merely a codeword for Jew.”
Katz-Prober also touted the agreement’s mandate that the school bring on a third-party compliance consultant, separate from its Title VI coordinator. While she insisted that such a role would be “independent” and free of bias, she noted that both the ADL and the Brandeis Center would have a role in their selection.
“Both sides get a say,” she said.
The post Reed College agrees to sweeping reforms as part of Title VI antisemitism settlement appeared first on The Forward.
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Arizona Rep. Andy Biggs cruises to GOP nomination for governor amid allegations of antisemitism
(JTA) — Arizona Rep. Andy Biggs, who has drawn criticism for ties to white nationalist figures, will officially be the Republican nominee for Arizona governor, after winning the primary on Tuesday night.
Biggs, who is backed by President Donald Trump, has drawn criticism for encouraging Stew Peters, an internet personality, and appearing on his show. Peters has labeled Judaism a “death cult” and has called for a “final solution” that involves the deportation of American Jews, and multiple watchdogs identify him as promoting antisemitism.
“Keep preaching,” Biggs told Peters at the end of his June 2023 appearance on the show, during which they discussed government corruption and Biggs agreed with Peters that the FBI should be abolished.
Biggs, 67, who won handily with 73.4% of votes according to multiple media outlets, will challenge Democratic Gov. Katie Hobbs in what is expected to be a competitive race in November. Biggs has represented Arizona’s 5th Congressional District, which is outside of Phoenix, since 2017.
His opponent in the GOP primary, Rep. David Schweikert, had put out a campaign mailer in March tying Biggs to white supremacy and antisemitism. The mailer featured mentions of Biggs’ interview with Peters as well as Biggs’ endorsement of Texas GOP candidate Brandon Herrera, who owned a copy of “Mein Kampf.”
Biggs’ campaign did not respond to the Jewish Telegraphic Agency’s request for comment, but in a local TV interview last month he called the accusations politically motivated and said, “This notion that I am antisemitic is absolutely one of the most ludicrous, insane arguments ever.”
In 2024, Biggs opposed the bipartisan Antisemitism Awareness Act, which passed in the House of Representatives. Biggs wrote that he opposes antisemitism and that the “pro-Hamas, pro-genocide, anti-Israel events happening across the nation are sickening.” He rejected the legislation, he said, because it was “so poorly drafted that it violates the Constitution and could have serious ramifications for the Christian community.” Right wing Republicans objected especially to the bill citing a definition of antisemitism that included as an example the claim that the Jews killed Jesus.
That same year, Biggs attended a rally co-sponsored by the Proud Boys, an extremist militia style group. In 2019, he spoke at a “Patriotism over Socialism” rally in Arizona, which watchdogs warned would draw extremist groups.
Media Matters, a group that mostly monitors right-wing groups, in 2023 wrote that “the links between Biggs and far-right extremists have been well-documented,” citing among other things his ties to another far-right group, the Oath Keepers.
The Republican Jewish Coalition did not respond to a question over whether it would support Biggs’ run for governor.
At a campaign event on Tuesday, Hobbs skewered Biggs for his denial of Trump’s 2020 election loss, and for not acknowledging Hobbs’ narrow 2022 gubernatorial victory over Republican Kari Lake.
This article originally appeared on JTA.org.
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