(New York Jewish Week) — Broadway actor Oliver Prose and I met on a bench outside of the iconic Bow Bridge in Central Park in the middle of a sunny afternoon. He’s nearly six months into his Broadway debut in “New York, New York” — and two days fresh off a performance at the Tony Awards — but he shows no signs of slowing down.
Prose chose this scenic spot for our meeting because it’s the real-life inspiration for one of his favorite sets on the show, which nabbed a Tony on Sunday for Best Scenic Design of a Musical.
“In all of the scenes — Grand Central, Bow Bridge, Penn Station — all these iconic locations are recreated with the sets,” he said. “It’s aesthetically one of the most beautiful shows I’ve ever seen.”
“New York, New York,” is a dance-heavy musical from legendary songwriters John Kander and Fred Ebb. It weaves multiple narratives about musicians trying to make it in New York City in 1946, portrayed here as a post-war era of possibilities and potential. Among a diverse cast of characters, Prose plays the musical’s lone Jewish character: Alex Mann, a young violinist auditioning for Juilliard who fled Poland just before the Holocaust began.
As tourists strolled by scarfing down cart hotdogs, taking selfies and listening to tour guides, Prose and I talked about what it’s like to be Jewish on Broadway right now — both in and out of the dressing room — in a moment when Jewish stories are receiving a lot of attention. Case in point: Antisemitism-themed “Parade” and “Leopoldstadt” won the Tonys for best revival of a musical and best play, respectively. The theme will continue with Alex Edelman’s “Just for Us,” which opens this summer, followed by Barry Manilow’s “Harmony” in the fall and “Prayer for the French Republic” in the winter.
As we chatted on a bench across from the bridge, I happened to notice a blue “chai” pendant peeking out of his casual black collared shirt. I asked him if the necklace is part of the show, like Michaela Diamond’s Jewish star that she wears as her “Parade” character, Lucille Frank.
It’s not, “but I did buy this for the opening of the show,” he said. “I’ve never worn any jewelry really, ever. There was never really a moment for me before that made me feel like I needed to project: ‘This is my Jewishness.’ But for this show, it really felt right.”
“I never really felt super comfortable, or the need to say ‘I’m Jewish,’ because I don’t practice that often,” added Prose, who grew up in Greenwich, Connecticut, and now lives in Brooklyn. “I haven’t been to temple since I was a teenager. I celebrate holidays with my family, but it’s always been something that I relate to my family. I’ve never really felt it personally before, but because of this role, I have really started to feel proud to be Jewish.”
Playing a Jewish character as his first role on Broadway feels “appropriate,” he said. And, as it happens, the part in “New York, New York” is one of the first shows, on or off Broadway, that he has worked on since graduating from New York University’s Tisch School of the Arts in 2019. For the last few years, he has been working as an administrative assistant at NYU while sending out self-tape auditions.
“When the semester ended, I had no idea what I was going to do,” he said.
After sending out an audition tape for the musical in late December last year, Prose had one in-person callback in January — later that night, his agent called to tell him he got the role.
“I never would have expected to be in a Susan Stroman-directed Kander and Ebb musical for my first Broadway experience,” Prose said, emphasizing that he’s “not a song and dance guy” — his last role was in a three-person show in Arizona. “If you had told me a year ago that I was going to be doing that — specifically at the Tonys — I would have said you’re completely crazy.”
“It’s been an eye-opening experience as a young, emerging artist,” he added.
“New York, New York,” designed for Broadway’s tourist crowd, is loosely based on the 1977 Martin Scorsese film of the same name, although Alex Mann and several other supporting characters were written specifically for this production, as part of the book by David Thompson. It features the catchy tunes from the movie, including its title song — you know the one — as well as new songs written by “Hamilton” legend and “Fiddler on the Roof” fan Lin-Manuel Miranda.
The plot centers around the volatile relationship between bright-eyed, aspiring musicians Francine Evans (Anna Uzele), who has come to New York via Philadelphia, and the jaded, multi-instrumentalist Jimmy Doyle (Colton Ryan). Along the pair’s up-and-down journey to success they cross paths with several other musicians trying to make it in the big city — like Prose’s Alex Mann, a violin protegé.
“It’s a show that’s trying to cover a lot of stories,” Prose said. “A lot of them really don’t have to do with being Jewish and what Judaism meant to that time.”
But Prose acknowledges how “Jewish stories are being explored on Broadway in a variety of ways,” right now, he said. “From a broad perspective, on Broadway, it’s something that’s being celebrated and recognized. But it’s also being opposed, which is what really tells me that the world is listening. People are hearing this and like, people don’t like it — and that makes it even more important.”
“I feel a part of all of that,” he added.
We finish our interview walking across the bridge and out of the park. Prose described how he’s still getting used to the nighttime work schedule. We say our goodbyes; I head to Midtown to write this article, while Prose makes his way to the St. James Theater to take a nap in his dressing room before that evening’s curtain call.
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Dueling pro-Israel and anti-Israel demonstrations at McGill University in Montreal, Canada; May 2, 2024. Photo: ZUMA Press Wire via Reuters Connect
McGill University’s law school in Montreal, Canada lost the chair of its advisory board on Sunday, when he resigned from the position over what he described in a letter notifying the administration of his decision as an “escalating pattern of hostility toward Jewish students, faculty, and alumni.”
The immediate cause, wrote Jonathan Amiel, was the Law Students Association’s passing an academic boycott of Israel through a student referendum held on Saturday. If adopted as university policy, the measure would shutter partnerships with Israeli institutions, bar individual Israelis or known Zionists from holding teaching positions, and allow professors to refuse writing letters of recommendation for students applying to study abroad in Israel.
A majority, 57 percent, of students who participated in the referendum voted to approve it, with 67 percent of the student body casting ballots, indicating high turnout. It accused Israel of being an “apartheid” state and of perpetrating a “genocide” against the Palestinians, despite that the Palestinian Bureau of Statistics reports that the Palestinian population has “doubled about ten times since” Israel’s founding in 1948.
While a Jewish student is challenging the vote in court, as reported by the Montreal Gazette, its approval by the student body has, according to activists, left an impression on the Jewish community there while achieving a reverberant political victory for the student anti-Zionist movement.
“We are deeply concerned by the ongoing developments within student governance at McGill University Faculty of Law,” the Center for Israel and Jewish Affairs (CIJA), a Canadian Jewish advocacy group, said in a statement.
According to Amiel, last week’s endorsement of a boycott of the world’s lone Jewish state was part of a broader, troubling trend.
“The referendum is not an isolated event,” Amiel wrote in his resignation letter, which he since made available for public viewing. “An institution once defined by intellectual rigor and principled debate has, in too many instances, become an environment where being Jewish, identifying as a Zionist, or maintaining any association with the State of Israel carries professional and personal risk.”
He added, “This includes the normalization and, at times, glorification, of events marking acts of mass violence, the obstruction of students’ access to classrooms and university facilities, and the use of academic platforms to legitimize or advance extremist ideologies.”
Amiel also charged that the institution failed to discipline “conduct involving harassment or intimidation.”
McGill University was one of hundreds of schools where anti-Zionists organized to celebrate Hamas’s Oct. 7, 2023, massacre, in which the terrorist group’s fighters slaughtered, kidnapped, and raped Israeli civilians during their invasion of the Jewish state.
Their activities culminated in an anti-Israel encampment which spanned across four months and did not disband until long after the end of the 2023-2024 academic year. While McGill officials took steps to limit the freedom of action of the group which staged the demonstration, such as bringing the issue before a court and denouncing the “obvious antisemitism” of its members, Amiel’s letter suggests that the university has not done nearly enough to combat anti-Jewish harassment and discrimination on campus.
“The defining feature of this period has been an absence of decisive leadership at moments when clarity and resolve were required,” Amiel continued. “In that absence, direction has effectively been ceded to actors whose objectives are fundamentally misaligned with the university’s core academic mission.”
McGill University has denounced the outcome of the referendum, with president Deep Saini saying, “The effects here are antisemitic, and that plain fact must guide McGill’s response.”
Amiel’s resignation comes amid an ongoing crisis of pervasive antisemitism on campuses across the Western world.
Earlier this month, the Union of Jewish Students (UJS) released survey results showing that Jewish campus life in Great Britain is rapidly deteriorating. The group found that 47 percent of Jewish students report having heard their classmates justify the Oct. 7 massacre in which Hamas slaughtered civilians and committed mass rape; 23 percent have witnessed Jewish students persecuted over their identity; as many as 36 percent have either lost friends in this new milieu or know someone who has; and a shocking 40 percent report “having changed their journey through campus” to avoid anti-Zionist protests occurring every week at some universities.
Some of the report’s most concerning findings focused on anti-Jewish sentiments expressed by non-Jewish students. Twenty percent said they prefer not be roommates with a Jewish person, while a quarter of students surveyed believe that arguing that “Zionists control the media/government” does not constitute antisemitism. Responding to a separate question, 16 percent expressed approval of saying outright that “Jews control the media/government.”
“This report demonstrates that antisemitism on campus is not isolated but normalized,” Union of Jewish Students president Louis Danker said in a statement. “No Jewish student should have to face social ostracism, abusive language, or physical violence — there is a right to protest but not harass. If we are serious about combating extremism in Britain, we have to start on campus, where half of students have seen glorification of Hamas or Hezbollah. Concerned sentiments and piecemeal progress are not enough.”
The issue is no less severe in the US.
In February, the American Jewish Committee (AJC) and Hillel International reported that a striking 42 percent of Jewish students reported experiencing antisemitism during their time on campus. Of that group, 55 percent said they felt that being Jewish at a campus event threatened their safety. Meanwhile, 34 percent of Jewish students avoid being detected as Jews, hiding their Jewish identity due to fear of antisemitism.
According to the data, 38 percent of Jewish students said they decline to utter pro-Israel viewpoints on campus, including in class, for fear of being targeted by anti-Zionists. The rate of self-censorship is significantly higher for Jewish students who have already been subjected to antisemitism, registering at 68 percent.
“No Jewish student should have to hide their identity out of fear of antisemitism, yet that’s the reality for too many students today,” Hillel International chief executive officer Adam Lehman said in a statement released with the survey results. “Our work on the ground every day is focused on changing that reality by creating environments where all Jewish students can find welcoming communities and can fully and proudly express their Jewish identities without fear or concern.”
Follow Dion J. Pierre @DionJPierre.
Eden Golan, Israel’s representative at the Eurovision Song Contest, reacts during a press conference following the official unveiling of Israel’s song submission, in Tel Aviv, Israel, March 10, 2024. Photo: REUTERS/Carlos Garcia Rawlins
Eden Golan, who represented Israel in the 2024 Eurovision Song Contest, talked in a new interview about still experiencing anxiety, fear, and nightmares of threats against her life two years after the competition ended.
“I’m always afraid. I look in every direction like a security guard,” the 22-year-old Israeli singer said in an interview published on Friday in the “7 Nights” supplement of Yedioth Ahronoth. “I’ve had recurring anxiety since Eurovision: I walk into a place, a restaurant, or a show, and someone shoots me from behind. I have recurring nightmares of people chasing me and killing me. But I’m learning to live with it. No one will silence me anymore.”
Golan told Yedioth Ahronoth that she also still faces antisemitism almost everywhere she goes.
“Quite a few of my performances abroad had protests,” she explained. “In Switzerland they threw red paint at the entrance to the venue, supposedly to say the blood is on our hands. There was one protest with signs against [Israeli Prime Minister] Bibi [Netanyahu] and against me. After all the threats I received, there’s definitely fear for my life, but what could be worse than what I went through at Eurovision?”
Golan participated in the 2024 Eurovision in Malmo, Sweden, with the song “Hurricane” and finished in fifth place. The song was originally titled “October Rain,” but the name and its original lyrics were disqualified by the European Broadcasting Union (EBU), which organizes the Eurovision competition, for being too political since it referenced the deadly Oct. 7, 2023, Hamas terrorist attack in southern Israel.
Golan made it to the top five of the competition even after being booed on stage by anti-Israel audience members, facing death threats, and having a Eurovision jury member refuse to give her points because of his personal feelings against Israel’s military actions during its war against Hamas in Gaza.
Golan has also said she had to conceal her identity outside her hotel room in Malmo during the Eurovision contest because of the threats she received from anti-Israel activists, who were angry about the Jewish state’s participation in the international competition. At the time, the deputy director general of the EBU condemned the harassment that participating singers had experienced.
Noam Bettan is Israel’s representative in the 2026 Eurovision Song Contest, which will take place in Vienna, Austria, in May. He is competing with a trilingual song titled “Michelle.”
A map showing the Strait of Hormuz is seen in this illustration taken June 22, 2025. Photo: REUTERS/Dado Ruvic/Illustration
In the war between Iran and the joint force of the US and Israel, the Islamic Republic’s strongest tactic is to obstruct shipping in its coastal Strait of Hormuz.
The regime has strangled the world’s supply of oil and natural gas by attacking several commercial vessels as they transited the Persian Gulf channel. Some of Iran’s naval weapons have killed members of the ships’ crews.
As a political matter, Iran hopes that creating a global energy crisis will generate opposition to the US-Israeli military campaign. But as a legal matter, Iran’s targeting of civilian ships is a flagrant violation of international law.
Article 16(4) of the 1958 Geneva Convention on the Territorial Sea prohibits “the suspension of the innocent passage of foreign ships through straits” such as the Strait of Hormuz. Iran signed the 1958 document, as well as an updated version of the treaty, the 1982 United Nations Convention for the Law of the Sea.
The regime never “ratified” either treaty because it did not incorporate the international laws into its domestic law. That means Iran never became a formal party to the two pacts. However, the “innocent passage” framework of at least the 1958 convention is considered legally binding on Iran through customary international law, a consequence of widespread maritime practice.
The United Nations Security Council applied the principle of innocent passage during the Iran-Iraq War of the 1980s. The council rebuked both combatants for firing on commercial oil tankers in the Persian Gulf.
In the current war, the UN Security Council likewise chided Iran’s lethal interference with civilian shipping in the Strait of Hormuz. A coalition of 22 countries including two Arab Gulf states recently signed a joint statement that condemned Iran’s violent closure of the strait and warned of “appropriate efforts” to reopen it. A US military contingent is now headed to the strait, presumably to clear the key coastal terrain.
Iran attempts to evade its maritime obligations with two legal arguments.
First, it asserts self-styled “maritime claims,” in which every commercial ship’s right of innocent passage through the Strait of Hormuz is subject to the regime’s “prior approval.” Iran accordingly grants safe passage to vessels from “friendly” states like China and Pakistan but not ships that could “benefit the aggressors.”
Assuming an additional power of prior approval, Iran has threatened to impose toll charges on ships passing through the waterway. International maritime organizations such as the United Kingdom Maritime Operations Center have confirmed that Iran’s self-serving legal concoction is unfounded. In fact, most of the shipping lanes in the strait run through the territorial waters of Oman, which lie beyond Iran’s legal reach.
Iran alternately contends that its anti-shipping terrorism in the strait is a “tool of pressure” to combat the US and Israel, implying a right of military self-defense. But the laws of naval warfare do not permit attacks on ordinary civilian vessels as a means of self-defense.
Finding Iran in breach of maritime law is easy. Enforcing the law is another matter.
The International Court of Justice cannot assert jurisdiction over a state without that state’s consent. The International Criminal Court lacks authority over Iran because the state never signed the court’s enabling treaty. The Security Council could vote on Bahrain’s proposed March 23, 2026, resolution authorizing “all necessary means” to reopen the Strait of Hormuz. But the measure would probably be vetoed by Russia and/or China, states that oppose the use of force against Iran.
At stake is nothing less than freedom of navigation, which is vital to global trade and security. If Iran can paralyze the Strait of Hormuz, other nations may block similar chokepoints such as the Strait of Taiwan, the Turkish Straits, the Panama Canal, or the Suez Canal. The resulting chaos could render maritime law a dead letter.
It may be difficult for American-Israeli warfare to release Iran’s illegal grip on the Strait of Hormuz. Nevertheless, military action may be the only way to restore the rule of law in the waterway and deter future maritime aggressions.
Joel M. Margolis is the legal commentator of the American Association of Jewish Lawyers and Jurists, US Affiliate of the International Association of Jewish Lawyers and Jurists. He is the author of The Israeli-Palestinian Legal War.