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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 Hate Hides Behind Nuance, Babka and Protest Cannot Rise Half‑Baked
A Breads Bakery location in New York City. Photo: ZUMA Press Wire via Reuters Connect
This weekend, a crowd wrapped around the corner of 63rd and Broadway in New York City, lining up for babka and bread at Breads Bakery. But this wasn’t the usual pre-Shabbat rush. It was a quiet show of solidarity with the Israeli-owned bakery, after union activists urged it to sever ties with Israel.
A line for pastries became a reminder that antisemitism doesn’t always announce itself with slurs or slogans. Sometimes it appears in smaller, more familiar spaces — through pressures and demands that seem benign on the surface.
When New York City’s new mayor, Zohran Mamdani, revoked a series of executive orders aimed at combating antisemitism, the justification was familiar: overly broad, insufficiently nuanced, potentially chilling to free speech. For many Jews in this city — especially those who are visibly Jewish or openly supportive of Israel — this reversal did not feel like balance restored. It felt like protection withdrawn.
New York is home to the largest Jewish population outside of Israel, and Mamdani’s decision came at a moment when antisemitic threats are rising nationally and globally, when synagogues and schools require armed guards, and when fear is not theoretical but lived.
One word — nuance — has stayed with me.
Not long before the mayor’s announcement, a friend objected to the International Holocaust Remembrance Alliance’s working definition of antisemitism: Too broad, too political, not nuanced enough. I had heard the argument before — but hearing it again, now, felt revealing.
Can we fight hate in the language of nuance?
For decades, we have treated language as a tool of moral repair. We revised terminology to be more inclusive, more precise, and more humane. We expanded our understanding of gender and identity. Language evolved to widen the circle of belonging.
Names matter. If language shapes how people are seen — and how they see themselves — then these changes matter.
But somewhere along the way, the project of inclusion began to drift.
Refining language stopped functioning as a starting point for justice and became a substitute for it. Linguistic correction began to stand in for moral and institutional accountability. We treated vocabulary changes as progress, even when the underlying structures remained unchanged.
We changed the words without changing the world.
As we focused on more delicate modifiers and culturally sensitive phrasing, we also became cautious in how we described injustice — so cautious that we often avoided confronting it at all. Language became a tool to minimize, camouflage, or justify inaction.
Nowhere is this clearer than in how we talk about antisemitism.
At a time when antisemitic incidents are rising, the insistence on narrower definitions and softer language feels less like rigor and more like retreat. Definitions tighten just as hostility becomes more explicit, more public, and more emboldened.
And the question lingers: Are we blurring the reality of antisemitism out of fear that naming it clearly will constrain legitimate criticism of Israel? Are we reinforcing old tropes equating Zionism with racism, legitimizing a wave of boycotts and, increasingly, outright acts of violence against Jews?
Would we ask other marginalized communities to soften the words used to describe the hatred aimed at them?
If we would not ask it of others, why do we ask it of Jews?
Outside of Breads Bakery, the protest didn’t sound like a protest. No bullhorns, no chants — just a line of New Yorkers waiting for pastries to push back against a union’s demand that the bakery cut ties with Israel. It turns out that you can fight antisemitism with babka.
But the gesture can be quiet only if the definition is not. We cannot fight what we don’t hear, and we cannot hear what we refuse to name. When antisemitism hides behind nuance, policy, or the polite language of activism, clarity stops being optional. Even a line for babka can become a battleground against hate — but only if the hate is named plainly. Buying bread may seem like a Beijing form of activism, but when the message it sends is clear, hate can no longer hide in the shadow of nuance.
Gillian Granoff is a New York–based writer focused on Jewish identity, the Israel–diaspora relationship, and the challenges of navigating antisemitism after October 7. Her work draws on personal experience and time spent in Israel, bringing cultural insight and emotional clarity to her essays. She holds a degree in Comparative Literature from Brown University and spent more than a decade as a senior reporter for Education Update, an award-winning New York education newspaper.
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Somali Regions Reject Mogadishu’s Move to Cut Ties With UAE
People hold the flag of Somaliland during the parade in Hargeisa, Somaliland, May 18, 2024. Photo: REUTERS/Tiksa Negeri
Three self-governing regions in Somalia that have close relations with the United Arab Emirates have dismissed a decision this week by the central government to sever ties with the UAE, a long-term sponsor.
On Monday Somalia annulled all agreements with the UAE, including in the field of security, accusing the Gulf country, which has trained and funded Somalia’s army and invested in its ports, of undermining Somalia’s national sovereignty.
Somalia did not provide further explanation of its reasons for the move. Mogadishu is investigating allegations that the UAE whisked a separatist leader out of Yemen via Somalia. Separately, the UAE has been linked to Israel’s recognition last month of Somaliland, a breakaway region of northern Somalia, as an independent state.
The UAE‘s Ministry of Foreign Affairs did not immediately respond to a request for comment on Somalia’s decision. The UAE has longstanding interests in the Horn of Africa and Red Sea regions, where it has frequently vied with other wealthy Gulf states for influence.
Somaliland and two semi-autonomous states, Puntland in the north and Jubbaland in the south, said they would not recognize the decision by Mogadishu to cut ties with the UAE.
“Somalia’s daydreaming changes nothing … The UAE is here to stay, no matter what a weak administration in Mogadishu says,” Khadar Hussein Abdi, Minister of the Presidency of the Republic of Somaliland, said late on Monday.
The Jubbaland regional government said Mogadishu’s decision was “null and void” and existing “security and development agreements will continue to exist.”
Puntland said the decision would have no impact on relations between it and the UAE, including over the coastal city of Bosaso where a subsidiary of the UAE‘s DP World has a 30-year concession to run the port.
EXPANDING INFLUENCE
The UAE has long leveraged its wealth to expand its influence across the Horn of Africa, using a mix of economic, military and diplomatic clout to exert regional power.
For decades Somalia’s federal government has possessed only limited authority across the country, and has failed to defeat Islamist militants, despite years of international support, including African peacekeepers and US air strikes.
The UAE trained hundreds of Somali troops from 2014-2018, and still covers salaries and provides logistics for around 3,400 Somali military police and special forces troops in and around the capital, according to senior Somali sources.
It has also forged bonds directly with regional governments, committing hundreds of millions of dollars to ports and military infrastructure on the coast along global shipping routes.
Two Somali officials, speaking on condition of anonymity to discuss sensitive diplomacy, told Reuters that in place of UAE military funding the country could turn to the UAE‘s wealthy Gulf rivals Qatar or Saudi Arabia for help.
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Syria’s Kurds Protest Aleppo Violence as Fears of Wider Conflict Grow
Syrian Kurds attend a protest in solidarity with the people in the neighborhood of Sheikh Maksoud and Ashrafiya, as the last Kurdish-led Syrian Democratic Forces (SDF) fighters left the Syrian city of Aleppo on Sunday, state-run Ekhbariya TV said, following a ceasefire deal that allowed evacuations after days of deadly clashes, in Qamishli, Syria, Jan. 13, 2026. Photo: REUTERS/Orhan Qereman
Several thousand people marched under the rain in northeast Syria on Tuesday to protest the expulsion of Kurdish fighters from the city of Aleppo the previous week after days of deadly clashes.
The violence in Aleppo has deepened one of the main faultlines in Syria, where President Ahmed al-Sharaa’s promise to unify the country under one leadership after 14 years of war has faced resistance from Kurdish forces wary of his Islamist-led government.
Five days of fighting left at least 23 people dead, according to Syria’s health ministry, and saw more than 150,000 flee the two Kurdish-run pockets of the city. The last Kurdish fighters left Aleppo in the early hours of Jan. 11.
On Tuesday, several thousand Syrian Kurds protested in the northeastern city of Qamishli. They carried banners bearing the logos of Kurdish forces and faces of Kurdish fighters who died in the battles – some of whom had detonated explosive-laden belts as government forces closed in.
FEARS OF WIDER CONFLICT
Other posters featured the faces of Sharaa and Turkish Foreign Minister Hakan Fidan, crossed out with red “X”s and carrying the caption “Killers of the Kurdish people.”
Turkey accuses the Syrian Democratic Forces – the main Kurdish fighting force which runs a semi-autonomous zone in northeast Syria – of links to the Kurdistan Workers’ Party, which Ankara considers a terrorist organization.
Many Kurds say last week’s bloodshed has deepened their skepticism about Sharaa’s promises to govern for all Syrians.
“If they truly love the Kurds, and if they sincerely say that the Kurds are an official and fundamental component of Syria, then the rights of the Kurdish people must be recognized in the constitution,” said Hassan Muhammad, head of the Council of Religions and Beliefs in Northeast Syria, who attended Tuesday’s protest.
Others worry that the bloodshed will worsen. Syria’s defense ministry on Tuesday declared eastern parts of Aleppo still under SDF control to be a “closed military zone,” and ordered all armed forces in the area to withdraw further east.
Idris al-Khalil, a Qamishli resident who protested on Tuesday, said the Aleppo violence reminded him of the sectarian killings last year of the Alawite minority on Syria’s coast and the Druze minority in the country’s south.
“Regarding the fears of a full-scale war – if they want a full-scale war, the people will suffer even more, and it will lead to division among the peoples of the region, preventing them from living together in peace,” Khalil said.