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Meet the Jewish actor who plays the lone Jewish character in Broadway’s ‘New York, New York’
(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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The post Meet the Jewish actor who plays the lone Jewish character in Broadway’s ‘New York, New York’ appeared first on Jewish Telegraphic Agency.
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Board of Peace Members Have Pledged More Than $5 billion for Gaza, Trump Says
A drone view shows the destruction in a residential neighborhood, after the withdrawal of the Israeli forces from the area, amid a ceasefire between Israel and Hamas in Gaza, in Gaza City, October 21, 2025. Photo: REUTERS/Dawoud Abu Alkas/File Photo
US President Donald Trump said Board of Peace member states will announce at an upcoming meeting on Thursday a pledge of more than $5 billion for reconstruction and humanitarian efforts in Gaza.
In a post on Truth Social on Sunday, Trump wrote that member states have also committed thousands of personnel toward a U.N.-authorized stabilization force and local police in the Palestinian enclave.
The US president said Thursday’s gathering, the first official meeting of the group, will take place at the Donald J. Trump Institute of Peace, which the State Department recently renamed after the president. Delegations from more than 20 countries, including heads of state, are expected to attend.
The board’s creation was endorsed by a United Nations Security Council resolution as part of the Trump administration’s plan to end the war between Israel and Palestinian Islamist group Hamas in Gaza.
Israel and Hamas agreed to the plan last year with a ceasefire officially taking effect in October, although both sides have accused each other repeatedly of violating the ceasefire. According to Gaza’s Health Ministry, more than 590 Palestinians have been killed by Israeli troops in the territory since the ceasefire began. Israel has said four of its soldiers have been killed by Palestinian militants in the same period.
While regional Middle East powers including Turkey, Egypt, Saudi Arabia, Qatar and Israel – as well as emerging nations such as Indonesia – have joined the board, global powers and traditional Western US allies have been more cautious.
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Why a forgotten teacher’s grave became a Jewish pilgrimage site
Along Britton Road in Rochester, New York, a brick gatehouse sits across from ordinary homes. Beyond it lies Britton Road Cemetery, its grounds divided into family plots and sections claimed over time by Orthodox congregations and fraternal associations, past and present. Names like Anshe Polen, Beth Hakneses Hachodosh, B’nai Israel, and various Jewish fraternal organizations are found here.
On the east side of the cemetery, a modest gray headstone draws visitors who do not personally know the man buried there, who were never taught his name in school, and who claim no personal connection to his life. Some leave notes. Some light candles in a small metal box set nearby. Others whisper prayers and stand for a moment before going. They come because they believe holiness can be found here.
The grave belongs to Rabbi Yechiel Meir Burgeman, a Polish-born teacher who died in 1938. He did not lead a major congregation or leave behind an institution that bears his name. And yet, nearly a century after his death, people still visit.
Over time, Burgeman has come to be remembered as a tzaddik nistar, a hidden righteous person, whose holiness is known through their teaching and daily life rather than through any title or position. His grave has become a place of intercession. People come to pray for healing, for help in times of uncertainty, and for the hope of marriage. What endures here is not an individual’s biography so much as a practice: the belief that a life lived with integrity can continue to shape devotion, even after the body has been laid to rest.
In life, Burgeman was not known as a miracle worker or a public figure. He was a melamed, a teacher of children, living plainly among other Jewish immigrants in Rochester’s Jewish center in the early decades of the 20th century. At one point, he was dismissed from a teaching post for refusing to soften his instruction. He later opened his own cheder, or schoolroom. There was no congregation to inherit his name, no institution to archive his papers. When he died, he was buried in an ordinary way at Britton Road Cemetery, one grave among many.
What followed was not immediate.
Remembered in return
The meaning attached to Burgeman’s resting place accumulated slowly. Stories began to circulate. People spoke of his kindness, his discipline, his integrity. Over time, visitors came. The grave became a place not of answers, but of belief. For generations, this turning toward the dead has taken this same form. It is not worship. It is proximity. A way of standing near those believed to have lived rightly, and asking that their merit might still matter.
In Jewish tradition, prayer at a grave is a reflection on those believed to have lived with righteousness, asking that their merit accompany the living in moments of need. Psalms are traditionally recited. Words are often spoken quietly.
I have done something similar too. Years ago, before I converted to Judaism and before I had the means to travel, I sent a written prayer through a Chabad service that delivers letters to the grave of the Lubavitcher Rebbe in New York. Someone else carried it. I cannot say with absolute certainty what happened because of it. Only that the practice itself made space for hope that I was seen, and that a prayer was later answered in ways that shaped my life and deepened my understanding of Judaism.
Burgeman’s grave functions in a similar register, though without any institutional frame. People come not because his name is widely known, but because the story has endured. Over time, that story gathered details. The most persistent involves a dog said to have escorted Jewish children to Burgeman’s cheder so they would not be harassed along the way by other youths. The dog then stood watch until they were ready to return home. The versions differ. Some are reverent. Some are playful. Some verge on the miraculous. The story endures because it names something children needed: care, in a world that could be frightening.
In recent decades, Burgeman’s afterlife has taken on a digital form. His name surfaces in comment threads and genealogical forums, passed along by people who never met him and are not always sure how they are connected. Spellings are debated. Dates are corrected. A descendant appears. A former student’s grandchild adds a fragment. Someone asks whether this is the same man their grandmother spoke of. No single account settles the matter. Instead, memory gathers. What once traveled by word of mouth now moves through hyperlinks.
The internet allows fragments to remain visible. Burgeman’s story survives not because it was officially recorded, but because enough people cared to remember it. In this way, his legacy resembles the man himself: quiet, unadorned, sustained by actions rather than declaration.
This story does not offer certainty. It is about remembering a life and asking if we might still learn from it and if, perhaps, it can bring us closer to faith. Burgeman left no grand monument. He left descendants. A grave. A life of Jewish values that continues to teach.
Burgeman did not seek recognition in life. After death, he became something else: a teacher still teaching, not through words, but through the way people continue to act on his memory. That is the lesson. Not any miracle. Not any legend. The quiet insistence that a life lived with integrity does not end when the casket is placed into the earth.
Some graves are instructions.
This one still asks something of us.
The post Why a forgotten teacher’s grave became a Jewish pilgrimage site appeared first on The Forward.
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Turkey Sends Drilling Ship to Somalia in Major Push for Energy Independence
Turkish President Tayyip Erdogan speaks during a ceremony for the handover of new vehicles to the gendarmerie and police forces in Istanbul, Turkey, Nov. 28, 2025. Photo: REUTERS/Murad Sezer
i24 News – Turkey has dispatched a drilling vessel to Somalia to begin offshore oil exploration, marking what officials describe as a historic step in Ankara’s drive to strengthen energy security and reduce reliance on imports.
Turkish Minister of Energy and Natural Resources Alparslan Bayraktar announced that the drilling ship Çagri Bey is set to sail from the port of Taşucu in southern Turkey, heading toward Somali territorial waters.
The vessel will pass through the Strait of Gibraltar and around the coast of southern Africa before reaching its destination, with drilling operations expected to begin in April or May.
Bayraktar described the mission as a “historic” milestone, saying it reflects Turkey’s long-term strategy to enhance national energy security and move closer to self-sufficiency.
The operation will be protected by the Turkish Naval Forces, which will deploy several naval units to secure both the vessel’s route and the drilling area in the Gulf of Aden and the Arabian Sea. The security arrangements fall under existing cooperation agreements between Ankara and Somalia.
The move aligns with a broader vision promoted by President Recep Tayyip Erdoğan, aimed at reducing Turkey’s dependence on foreign energy supplies, boosting domestic production, and shielding the economy from external pressures.
Bayraktar said Turkey is also working to double its natural gas output in the Black Sea this year, while continuing offshore exploration along its northern coastline. In parallel, Ankara is preparing to bring its first nuclear reactor online at the Akkuyu Nuclear Power Plant, which is expected to begin generating electricity soon and eventually supply about 10% of the country’s energy needs.
The current drilling effort is based on survey data collected last year and forms part of Ankara’s wider plan to expand its energy exploration activities both regionally and internationally.