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Fanny Brice, Irving Berlin, Jerome Kern, Barbra Streisand, Alan Menken, Stephen Sondheim—Jewish performers, composers, lyricists, directors, choreographers and producers have made an indelible mark on Broadway for more than a century. Award-winning producer Stewart F. Lane chronicles the emergence of Jewish American theater, from immigrants producing Yiddish plays in the ghettos of New York’s Lower East Side to legendary performers staging massive shows on Broadway. In its expanded second edition, this historical survey includes new information and photographs, along with insights and anecdotes from a life in the theater.
From 1925 to 1951--three chaotic decades of depression, war, and social upheaval--Jewish writers brought to the musical stage a powerfully appealing vision of America fashioned through song and dance. It was an optimistic, meritocratic, selectively inclusive America in which Jews could at once lose and find themselves--assimilation enacted onstage and off, as Andrea Most shows. This book examines two interwoven narratives crucial to an understanding of twentieth-century American culture: the stories of Jewish acculturation and of the development of the American musical. Here we delve into the work of the most influential artists of the genre during the years surrounding World War II--Irving Berlin, Eddie Cantor, Dorothy and Herbert Fields, George and Ira Gershwin, Oscar Hammerstein, Lorenz Hart, and Richard Rodgers--and encounter new interpretations of classics such as The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I. Most's analysis reveals how these brilliant composers, librettists, and performers transformed the experience of New York Jews into the grand, even sacred acts of being American. Read in the context of memoirs, correspondence, production designs, photographs, and newspaper clippings, the Broadway musical clearly emerges as a form by which Jewish artists negotiated their entrance into secular American society. In this book we see how the communities these musicals invented and the anthems they popularized constructed a vision of America that fostered self-understanding as the nation became a global power.
Fanny Brice, Irving Berlin, Jerome Kern, Barbra Streisand, Alan Menken, Stephen Sondheim--Jewish performers, composers, lyricists, directors, choreographers and producers have made an indelible mark on Broadway for more than a century. Award-winning producer Stewart F. Lane chronicles the emergence of Jewish American theater, from immigrants producing Yiddish plays in the ghettos of New York's Lower East Side to legendary performers staging massive shows on Broadway. In its expanded second edition, this historical survey includes new information and photographs, along with insights and anecdotes from a life in the theater.
Sixty-two of the most accomplished Jews in America speak intimately—most for the first time—about how they feel about being Jewish. In unusually candid interviews conducted by former 60 Minutes producer Abigail Pogrebin, celebrities ranging from Sarah Jessica Parker to Supreme Court Justice Ruth Bader Ginsburg, from Larry King to Mike Nichols, reveal how resonant, crucial or incidental being Jewish is in their lives. The connections they have to their Jewish heritage range from hours in synagogue to bagels and lox; but every person speaks to the weight and pride of their Jewish history, the burdens and pleasures of observance, the moments they’ve felt most Jewish (or not). This book of vivid, personal conversations uncovers how being Jewish fits into a public life, and also how the author’s evolving religious identity was changed by what she heard. · Dustin Hoffman, Steven Spielberg, Gene Wilder, Joan Rivers, and Leonard Nimoy talk about their startling encounters with anti-Semitism. · Kenneth Cole, Eliot Spitzer, and Ronald Perelman explore the challenges of intermarriage. · Mike Wallace, Richard Dreyfuss, and Ruth Reichl express attitudes toward Israel that vary from unquestioning loyalty to complicated ambivalence. · William Kristol scoffs at the notion that Jewish values are incompatible with Conservative politics. · Alan Dershowitz, raised Orthodox, talks about why he gave up morning prayer. · Shawn Green describes the pressure that comes with being baseball’s Jewish star. · Natalie Portman questions the ostentatious bat mitzvahs of her hometown. · Tony Kushner explains how being Jewish prepared him for being gay. · Leon Wieseltier throws down the gauntlet to Jews who haven’t taken the trouble to study Judaism. These are just a few key moments from many poignant, often surprising, conversations with public figures whom most of us thought we already knew. “When my mother got her nose job, she wanted me to get one, too. She said I would be happier.”—Dustin Hoffman “It’s a heritage to be proud of. And then, too, it’s something that you can’t escape because the world won’t let you; so it’s a good thing you can be proud of it.” —Ruth Bader Ginsburg “My wife [Kate Capshaw] chose to do a full conversion before we were married in 1991, and she married me as a Jew. I think that, more than anything else, brought me back to Judaism.”—Steven Spielberg “As someone who was born in Israel, you’re put in a position of defending Israel because you know how much is at stake.”—Natalie Portman
Over the last hundred years, musical theatre artists - from Berlin to Rodgers and Hammerstein to Sondheim - have developed a form that corresponds directly to the Americanization of the increasingly Jewish New York audience; and that audience's aspirations and concerns have played out in the shows themselves. Musicals thus became a paradigm which instructed newcomers in how to assimilate while correspondingly envisioning "American Dream" America as democratic and inclusive. Broadway musicals still continue to function today as "cultural Ellis Islands" for fringe populations seeking acceptance into the nation's mainstream - including women, blacks, Latinos, and gays - all essentially modeled upon the Jewish example. Stuart J. Hecht offers a fascinatingexamination of the relationship between Jews, assimilation, and the changing face of the American musical.
(Applause Books). A companion to the six-part PBS documentary series, Broadway: The American Musical is the first comprehensive history of the musical, from its roots at the turn of the 20th century through the smashing successes of the new millennium. The in-depth text is lavishly illustrated with a treasure trove of photographs, sheet-music covers, posters, scenic renderings, production stills, rehearsal shots and caricatures, many previously unpublished. Revised and updated, with a brand-new foreword by Julie Andrews and new material on all the Broadway musicals through the 2009-2010 season.
In the early decades of the twentieth century, a vibrant theatrical culture took shape on New York City's Lower East Side. Original dramas, comedies, musicals, and vaudeville, along with sophisticated productions of Shakespeare, Ibsen, and Chekhov, were innovatively staged for crowds that rivaled the audiences on Broadway. Though these productions were in Yiddish and catered to Eastern European, Jewish audiences (the largest immigrant group in the city at the time), their artistic innovations, energetic style, and engagement with politics and the world around them came to influence all facets of the American stage. Vividly illustrated and with essays from leading historians and critics, this book recounts the heyday of "Yiddish Broadway" and its vital contribution to American Jewish life and crossover to the broader American culture. These performances grappled with Jewish nationalism, labor relations, women's rights, religious observance, acculturation, and assimilation. They reflected a range of genres, from tear-jerkers to experimental theater. The artists who came of age in this world include Stella Adler, Eddie Cantor, Jerry Lewis, Sophie Tucker, Mel Brooks, and Joan Rivers. The story of New York's Yiddish theater is a tale of creativity and legacy and of immigrants who, in the process of becoming Americans, had an enormous impact on the country's cultural and artistic development.
“Makes new sense of aspects of popular culture we have all grown up with and thought we knew only too well. Most bridges religious studies and theater, political theory and American studies, high criticism and middlebrow performance. Her book will help us see better how Jews and their Jewishness did not merely ‘enter’ American popular culture, but did so much to invent it.”—Jonathan Boyarin Leonard and Tobee Kaplan Distinguished Professor of Modern Jewish Thought, University of North Carolina For centuries, Jews were one of the few European cultures without any official public theatrical tradition. Yet in the modern era, Jews were among the most important creators of popular theater and film–especially in America. Why? In Theatrical Liberalism, Andrea Most illustrates how American Jews used the theatre and other media to navigate their encounters with modern culture, politics, religion, and identity, negotiating a position for themselves within and alongside Protestant American liberalism by reimagining key aspects of traditional Judaism as theatrical. Discussing works as diverse as the Hebrew Bible, The Jazz Singer, and Death of a Salesman—among many others—Most situates American popular culture in the multiple religious traditions that informed the worldviews of its practitioners. Offering a comprehensive history of the role of Judaism in the creation of American entertainment, Theatrical Liberalism re-examines the distinction between the secular and the religious in both Jewish and American contexts, providing a new way of understanding Jewish liberalism and its place in a pluralist society. With extensive scholarship and compelling evidence, Theatrical Liberalism shows how the Jewish worldview that permeates American culture has reached far beyond the Jews who created it.
Bad Jews tells the story of Daphna Feygenbaum, a “Real Jew†? with an Israeli boyfriend. When Daphna’s cousin Liam brings home his shiksa girlfriend Melody and declares ownership of their grandfather’s Chai necklace, a vicious and hilarious brawl over family, faith and legacy ensues.
The Jewish World of Alexander Hamilton by Andrew Porwancher Pdf
The untold story of the founding father’s likely Jewish birth and upbringing—and its revolutionary consequences for understanding him and the nation he fought to create In The Jewish World of Alexander Hamilton, Andrew Porwancher debunks a string of myths about the origins of this founding father to arrive at a startling conclusion: Hamilton, in all likelihood, was born and raised Jewish. For more than two centuries, his youth in the Caribbean has remained shrouded in mystery. Hamilton himself wanted it that way, and most biographers have simply assumed he had a Christian boyhood. With a detective’s persistence and a historian’s rigor, Porwancher upends that assumption and revolutionizes our understanding of an American icon. This radical reassessment of Hamilton’s religious upbringing gives us a fresh perspective on both his adult years and the country he helped forge. Although he didn’t identify as a Jew in America, Hamilton cultivated a relationship with the Jewish community that made him unique among the founders. As a lawyer, he advocated for Jewish citizens in court. As a financial visionary, he invigorated sectors of the economy that gave Jews their greatest opportunities. As an alumnus of Columbia, he made his alma mater more welcoming to Jewish people. And his efforts are all the more striking given the pernicious antisemitism of the era. In a new nation torn between democratic promises and discriminatory practices, Hamilton fought for a republic in which Jew and Gentile would stand as equals. By setting Hamilton in the context of his Jewish world for the first time, this fascinating book challenges us to rethink the life and legend of America's most enigmatic founder.
Broadway musicals are one of America’s most beloved art forms and play to millions of people each year. But what do these shows, which are often thought to be just frothy entertainment, really have to say about our country and who we are as a nation? The Great White Way is the first book to reveal the racial politics, content, and subtexts that have haunted musicals for almost one hundred years from Show Boat (1927) to The Scottsboro Boys (2011). Musicals mirror their time periods and reflect the political and social issues of their day. Warren Hoffman investigates the thematic content of the Broadway musical and considers how musicals work on a structural level, allowing them to simultaneously present and hide their racial agendas in plain view of their audiences. While the musical is informed by the cultural contributions of African Americans and Jewish immigrants, Hoffman argues that ultimately the history of the American musical is the history of white identity in the United States. Presented chronologically, The Great White Way shows how perceptions of race altered over time and how musicals dealt with those changes. Hoffman focuses first on shows leading up to and comprising the Golden Age of Broadway (1927–1960s), then turns his attention to the revivals and nostalgic vehicles that defined the final quarter of the twentieth century. He offers entirely new and surprising takes on shows from the American musical canon—Show Boat (1927), Oklahoma! (1943), Annie Get Your Gun (1946), The Music Man (1957), West Side Story (1957), A Chorus Line (1975), and 42nd Street (1980), among others. New archival research on the creators who produced and wrote these shows, including Leonard Bernstein, Jerome Robbins, Stephen Sondheim, and Edward Kleban, will have theater fans and scholars rethinking forever how they view this popular American entertainment.
Dylan isn't your typical snooker player. He's a vegetarian, for starters. This is the biggest week of his life and everybody wants a piece of him – his ex-con Dad, local gangster Waxy Chuff and the snooker corruption squad. The Nap is a laugh out loud comedy thriller about love, honour and not getting snookered. It centres around Dylan Spokes, a professional snooker player, born and raised in Sheffield. Dylan is preparing for a big match, but not only are his friends and family getting in the way, but he is visited by police investigating match fixing. The Nap is a farce by award-winning playwright, Richard Bean, with plenty of sharp lines, jokes and an array of hilarious characters. The play includes a live snooker match, with comic commentary. It opened at the Sheffield Crucible in 2016 and later on Broadway by the Manhattan Theatre Club.
When Irena Gut witnessed a Nazi officer murder a baby and its mother in front of her eyes, she could do nothing. Then and there, she made a vow to God that if she ever had the opportunity to save a life, she would do it. But she did much more than that. When she was appointed the housekeeper for a German major, the highest-ranking German officer in Tarnopol, Poland, Irena saved thirteen lives by hiding twelve Jews in her employer’s basement, without his knowledge, for eight months. The thirteenth life she saved was a baby who was conceived in hiding. Now a major motion picture starring Sophie Nélisse, Irena’s Vow is one of the most remarkable, true stories of courage to come out of the Holocaust.
A sparkling and eye-opening history of the Broadway musical that changed the world In the half-century since its premiere, Fiddler on the Roof has had an astonishing global impact. Beloved by audiences the world over, performed from rural high schools to grand state theaters, Fiddler is a supremely potent cultural landmark. In a history as captivating as its subject, award-winning drama critic Alisa Solomon traces how and why the story of Tevye the milkman, the creation of the great Yiddish writer Sholem-Aleichem, was reborn as blockbuster entertainment and a cultural touchstone, not only for Jews and not only in America. It is a story of the theater, following Tevye from his humble appearance on the New York Yiddish stage, through his adoption by leftist dramatists as a symbol of oppression, to his Broadway debut in one of the last big book musicals, and his ultimate destination—a major Hollywood picture. Solomon reveals how the show spoke to the deepest conflicts and desires of its time: the fraying of tradition, generational tension, the loss of roots. Audiences everywhere found in Fiddler immediate resonance and a usable past, whether in Warsaw, where it unlocked the taboo subject of Jewish history, or in Tokyo, where the producer asked how Americans could understand a story that is "so Japanese." Rich, entertaining, and original, Wonder of Wonders reveals the surprising and enduring legacy of a show about tradition that itself became a tradition. Wonder of wonders, miracle of miracles.