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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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How Toronto Jews spread the Gospel of ‘Godspell’
To wander into a screening of You Had to Be There, Nick Davis’ documentary about the famed 1972 Toronto production of Godspell, is to have a Jewish come-to-Jesus moment.
The first thing you hear, after the voice of a 22-year-old Martin Short, testing a microphone in a furtive recording taken at the Royal Alexander Theatre, is a shofar sounding a tinny tekiah. It’s maybe not what you’d expect from a musical built around the Gospel of Matthew. But the film, which features interviews with original 1972 cast members Eugene Levy and Victor Garber, composer Stephen Schwartz and the production’s musical director Paul Shaffer, makes a strong case for Jewishness being the secret sauce that made the show take off.
Davis, who grew up in a secular Jewish home, began this project as a Godspell skeptic, trying to understand how so many subversive comedic talents broke out in a “hippie-dippy musical about Jesus.”
“I could imagine SCTV ripping Godspell apart with the Godspell that I knew,” Davis said in a video call from Chicago, where he was in town for a screening at the Music Box Theater. “Almost from the very beginning, they were like, ‘You don’t understand what Godspell was.’”
The show was picketed by Christians who took exception to the apostles, and Jesus himself, depicted as clowns clad in overalls. The key to the success of the Toronto Godspell, one of a number of regional productions that sprang up in the 1970s, was its invitation to performers to improvise within a sacred text.
“My feeling now is they were attracted to this material because this material encouraged them to be their biggest, best, most brilliant comic selves,” said Davis.
In the case of Hamilton, Ontario-native Eugene Levy or Gilda Radner, who came over from Detroit to audition, this meant introducing a Jewish sensibility to a work that was rooted in the writings of a First Century Jew. Whether they knew it or not, the cast was soon following a Jewish schedule of worship.
Perhaps more legendary than the show, composed by an early career Schwartz, later to write Wicked, with a book by his Carnegie Mellon classmate John-Michael Tebelak, were the after-parties, dubbed “Friday Night Services” and held at the shared home of Short and Levy.
It was here, with some chemical assistance — that the cast and their friends, among them John Candy, developed bits and worked on characters. (Thankfully, they had the presence of mind to record these confabs, which can be heard in the film and are animated in a style a la The Brady Kids.)
It wasn’t quite Bible study, but in his interviews, Eugene Levy briefly reflects on the significance of his turn as Jesus, following Victor Garber and Don Scardino, who later became a prolific comedy director for shows like 30 Rock and Crazy Ex-Girlfriend.
“I think I was the first Jewish-looking Jesus that any of the productions had,” Levy says in the documentary. “They went more Ronald McDonald with that look but I definitely was sporting my ethnicity and a little hair.”
Levy refused to manscape for the role of Jesus, who traditionally makes his entrance in just his boxers, and so he had to wear an undershirt. At one point the actor considers if, in the moment after Jesus is “crucified” on a chainlink fence, and lifted by the company in a sort of resurrection, he was doing something sacrilegious.
In the end, he concludes, it just felt like good theater.
The call of Godspell remains strong, Davis said. Not every member of the company — some of whom are related by marriage — still sees each other in person, but they’re all on an email chain. Davis embarked on the film thinking it would be a study on “the fickleness of fame,” with the cast of 10 about evenly divided between household names and ones who didn’t quite hit, but from the first interview he found people asking when he’d arrange a reunion.
The moment finally arrived in 2025, which, due to the exigencies of scheduling, happened to be the first night of Passover. There was a cake, but you can see Paul Shaffer electing to snack on matzo. (When cast member Valda Aviks asks him if he shouldn’t be at a Seder, he simply says “eh.”)
“I did bring a Seder plate that we had, a little fun thing for them to play with if they wanted,” said Davis. “All they wanted to do was sing by the piano.”
Davis considers Godspell, the Jesus musical written by a “nice Jewish boy from Long Island,” an example of the way Jews succeed through assimilation and entertainment. While he came in thinking the show was cornball, he now understands how it paved the way for the barrier-breaking comedy its alumni would produce
“There’s something Jewish fundamentally at the core of it,” Davis said. Like the Jewish teacher at its center, it is “radical.”
The post How Toronto Jews spread the Gospel of ‘Godspell’ appeared first on The Forward.
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Sunkist Fruit Gems return after panic over loss of synagogue staple
(JTA) — Sunkist Fruit Gems, candies beloved for their throwable qualities at Jewish celebrations, will return after a brief panic over their discontinuation.
The sugar-coated gummies will be on shelves in early 2027 following an outpouring of “overwhelming support and enthusiasm shown by Sunkist Fruit Gems fans in recent days,” Sunkist confirmed to the Jewish Telegraphic Agency.
The company said it will collaborate with CandyRific, a Kentucky-based confectionery company, to continue the legacy of Sunkist Fruit Gems days after reports of the gummies’ demise.
The fruit gems tick crucial boxes for being hurled at bar and bat mitzvahs, wedding celebrations and other happy occasions: They are kosher, soft enough to avoid injuring celebrants and individually wrapped so they don’t get stuck on the floor.
Those attributes will be preserved in their relaunch. “Consumers can expect the same key product characteristics they know and love, including individually wrapped pieces, a soft texture, fruit flavors, and kosher certification,” Sunkist said.
EJewishPhilanthropy first reported Thursday that the fruit gems were being discontinued by Ferrara, a Chicago-based candy company, prompting memorial tributes in Jewish communities throughout the United States.
The fruit gems have been a staple at synagogues for generations. They were born from an overabundance of citrus in the 1930s, when the citrus harvester Sunkist transformed its surplus fruit into byproducts, according to a history published by the company. The candies evolved from Christopher’s Fruit Gems to take the Sunkist name in the 1960s.
Protests against their disappearance included an appeal in eJewishPhilanthropy penned by Sara Fredman Aeder, the executive vice president of programming at the Jewish Community Relations Council of New York, headlined “Save the Fruit Gems.”
Sunkist’s announcement on Instagram that the fruit gems were “not going anywhere” was met with grateful replies.
“I panic-bought in bulk for my wedding next year,” said one commenter on Instagram. “Now I feel foolish lol. But enjoying a bunch of very yummy gummies.”
This article originally appeared on JTA.org.
The post Sunkist Fruit Gems return after panic over loss of synagogue staple appeared first on The Forward.
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Mamdani rolls out NYC’s first plan for fighting antisemitism — without defining the term
Mayor Zohran Mamdani on Tuesday unveiled New York City’s first comprehensive strategy to combat antisemitism, promising millions of dollars for security, hate-crime prevention and Jewish education as antisemitic incidents rise.
But the 30-page plan leaves unresolved a central source of tension between Mamdani and much of the Jewish community: what counts as antisemitism and when anti-Zionism crosses that line. That question has followed Mamdani since his first day as mayor, when he revoked an executive order from former Mayor Eric Adams adopting the controversial International Holocaust Remembrance Alliance definition of antisemitism. The IHRA definition considers most forms of anti-Zionism as antisemitic.
The strategy does not adopt a formal definition of antisemitism and offers little clarity on how the administration views anti-Zionism.
“New York City can and will leverage all of the tools at its disposal to combat antisemitism effectively without needing to adopt a definition for this specific form of hate,” the document reads.
Phylisa Wisdom, who leads the Mayor’s Office to Combat Antisemitism and crafted the plan, told reporters the city is taking an approach similar to the Biden administration’s 2023 national antisemitism strategy, which drew from several competing definitions and frameworks rather than choosing one. Those include IHRA; the Nexus Document, which says criticism of Israel or opposition to Israeli government policy is not necessarily antisemitic; and the Jerusalem Declaration on Antisemitism, which offers a narrower definition.
Wisdom said the administration’s focus is less on settling that debate than on protecting Jewish New Yorkers regardless of their politics.
The Israel question
The question of how to define antisemitism has shaped the debate over pro-Palestinian protests at college campuses and outside synagogues, a persistent source of tension between Mamdani and Jewish organizations.
The strategy mentions the Oct. 7, 2023 Hamas attack on Israel and the war that followed as part of the rise in antisemitism, but does not directly link them. It points to a broader rise that began years earlier, including around the 2017 Unite the Right rally in Charlottesville and the 2018 Tree of Life synagogue shooting in Pittsburgh. Wisdom said antisemitism often spikes during conflicts involving Israel, as NYPD data showed after Oct. 7.
Mamdani has long sought to distinguish between his opposition to Israel and Zionism and his commitment to protecting Jewish New Yorkers. But he has repeatedly clashed with Jewish organizations and leaders over where anti-Zionist activism crosses the line into antisemitism. Those tensions intensified after a series of protests outside synagogues hosting events promoting real estate in Israel and the West Bank and his repeated accusations that Israel is committing genocide in Gaza. Some demonstrations have included chants calling for an “intifada” and other rhetoric Jewish leaders described as antisemitic and intimidating. Mamdani has condemned violence and expressions of support for terrorist organizations, but also defended the constitutional right to protest.
That prompted City Council Speaker Julie Menin to push legislation this past spring requiring the NYPD to develop a plan for establishing a buffer zone when demonstrations involve harassment, intimidation or physical threats. Mamdani, who had raised concerns about restricting protests, allowed the synagogue measure to become law without his signature.
The new antisemitism plan notes that neither the NYPD nor FBI considers protest outside a house of worship hateful or antisemitic, a position the Mamdani administration shares.
Menin told the Forward she had no input in developing the strategy. Wisdom said her office met with the City Council’s Jewish Caucus, of which Menin is a member. A spokesperson for Menin said the speaker was briefed Monday, a day before the plan was released.
What the plan includes: Security and prevention
The strategy comes as antisemitic incidents continue to move in the wrong direction. Recent NYPD statistics showed that in the first seven months of 2026, anti-Jewish incidents rose 8.5%, and 57% of the reported hate crimes in the city involved Jewish victims.
The new strategy attempts to tackle that problem through funding for security, education and cultural programs.
The Mamdani administration is putting $6.4 million into the Partners Against the Hate grant program that offers grants up to $10,000 for community-based initiatives. It is part of a $26 million investment Mamdani announced earlier this year for the Office for the Prevention of Hate Crimes. The Jewish Community Relations Council of New York will serve as the anchor organization in the program, working with grassroots groups on programs that include education, victim support, data collection and combating online hate.
Another $1 million will go toward a security program aimed particularly at smaller religious institutions and vulnerable nonprofits that may not qualify for larger federal security grants. The money could pay for stronger door locks, shatter-resistant glass and security wands.
And the administration is restarting an interagency Security Infrastructure Working Group that brings together the NYPD, Department of Transportation and other city agencies to help synagogues and Jewish cultural institutions assess threats and improve security.
City Hall also plans to work with public schools to expand eighth-grade visits to the Museum of Jewish Heritage and continue teaching students about Jewish American history through existing curriculum. The administration is also investing $2 million to complete the Queens Holocaust Memorial and $2.5 million in the Center for New Jewish Culture in Brooklyn.
An informational campaign on LinkNYC kiosks across the five boroughs will highlight the contributions of Jewish New Yorkers, modeled after a campaign created to combat anti-Asian hate following the COVID-19 pandemic.
Outreach to Jewish New Yorkers
The plan comes after months of outreach aimed at hearing from a Jewish community deeply divided over Mamdani and his views on Israel.
Wisdom said the office, which includes another two staffers, conducted a five-borough listening tour in homes, schools and community centers. Participants represented a wide range of religious observance and political views.
Mamdani has also increased his own outreach. In August, he met with a group of rabbis from several denominations for a discussion about Jewish safety and belonging. Some of those rabbis pressed him over his rhetoric on Israel. He has also met with Hasidic and Orthodox leaders and maintains close relationships with progressive Jewish organizations.
Wisdom said that concerns raised during those private conversations helped shape the final strategy.
But she acknowledged that those meetings have not erased the central disagreement.
Mamdani has repeatedly accused Israel of committing genocide in Gaza, produced a Nakba Day video commemorating the displacement of Palestinians during Israel’s founding in 1948, and called Israeli Prime Minister Benjamin Netanyahu a war criminal.
During his mayoral campaign, he pledged to have Netanyahu arrested if he came to New York under an International Criminal Court warrant, though his administration later acknowledged that the city does not have the authority to carry out such an arrest. Netanyahu, during his speech at the United Nations last week, accused Mamdani of spreading lies about Israel and contributing to an atmosphere in which Jews feel unsafe. Mamdani rejected that criticism and stood by his views on Gaza.
Wisdom said in a press briefing on Monday the administration recognizes that discussions over the Israeli-Palestinian conflict are part of the broader conversation about how Jewish New Yorkers experience safety in the city. But she said disagreement with the mayor on foreign policy should have no bearing on whether someone receives the protection of City Hall.
The administration rolled out the strategy on Tuesday with support from top city officials, several Jewish elected officials and liberal and progressive Jewish organizations, including the New York Jewish Agenda, Jewish Council for Public Affairs, Nexus Project, New Jewish Narrative, Jews For Racial & Economic Justice, Bend the Arc and J Street’s New York City chapter.
Jamie Beran, CEO of Bend the Arc, commended the decision not to enshrine a single definition, adding that doing so would be “unnecessary” and “a distraction from substantive policies.”
But the strategy did not meet the demands of the Anti-Defamation League, which had called for a “clear, formal definition of antisemitism the city actually uses.” ADL also asked that the plan ensure city contracts, pensions and procurements are kept “free of ideological boycotts.”
In a video announcing the strategy, the mayor said his conversations with Jewish New Yorkers over the past year repeatedly brought him back to the same concern of growing antisemitism. “This is not only unacceptable,” Mamdani said. “Today, we hold a responsibility to sustain and protect our Jewish neighbors.”
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