Crossposted From Under the Fig Tree
Much has been written of late about the ways in which celebrated American musicals such as “Oklahoma” or “South Pacific” carry considerable Jewish freight. While most audiences come away humming rather than thinking, the American musical, many scholars suggest, is actually where American Jewish playwrights, lyricists, choreographers and designers set to rights their relationship to America.
But what of those on the other side of the footlights: the audience? I’ve always wondered what accounted for the longstanding affinity that so many American Jews, as well as their European counterparts, have had for the theater and the arts in general. Was this an accident of history? An artifact of demography? Or a deliberate strategy of modernization?
A recent article in the real estate section of The New York Times provides something of an answer.