Jewish women on stage in America took on a variety of musical roles and performed all kinds of songs, including religious hymns and liturgical chants. In its heyday, the Yiddish stage mirrored American Jewish life. An amazing range of women’s woes were highlighted, discussed, and often resolved across the footlights, presenting the reality that immigrant women faced to an extent not paralleled in the English-language theatrical world during those years.

The transition of Yemenite women from a traditional religious society to a western-secular society upon immigration to Israel was marked by a certain ambivalence. Their status and gender roles changed, and they became integrated both economically and socially into Israeli society. However, the new values underwent a certain degree of filtration as Yemenite women accepted some elements while rejecting others.

Jewish women in vaudeville helped to cultivate a unique American Jewish identity. Headliners Sophie Tucker, Belle Baker, and Fanny Brice were prominent, as were performers such as Nan Halperin and Nora Bayes. Molly Picon was a star of Yiddish theater, and Sarah Bernhardt a star of the stage. The reign of Jewish female vaudevillians ended in the 1930s, but their voices continue to be heard.

Vaudeville legend and Broadway star Sophie Tucker defied convention with her saucy comic banter and music. Tucker became famous internationally for her singing performances and delighted audiences throughout America and Europe with her rendition of “My Yiddishe Momme.” Tucker was proud of her Jewish identity and created the Sophie Tucker Foundation, which supported various actors’ guilds, hospitals, synagogues, and Israeli youth villages.

Pianist Rosalyn Tureck toured the world as a consummate interpreter of the keyboard music of Johann Sebastian Bach. Tureck made her Carnegie Hall debut in 1935 before touring in Europe, South America, Israel, Turkey, South Africa, and Australia. In 1994 she founded the Oxford-based Tureck Bach Research Institute.

For over a hundred years, Jewish women have been involved in the American theater as writers, actors, directors, designers and producers. The vitality of the Yiddish theater, the splendor of Broadway, the rich tapestry of the regional theater, and everything in between, all owe a debt to the Jewish women who have given of their talents, their energy, their drive, and their dreams.

Sylvia Blagman Syms was a gifted jazz singer who earned praise from Billie Holliday, Frank Sinatra, and Duke Ellington. In 1949, she was discovered by Mae West, who became a significant teacher and influence on Syms’s intimate storytelling performing style. Sym’s went on to record fifteen major albums and tour the United States and World before dying of a heart attack. 

Johanna Spector was an influential ethnomusicologist whose writings, recordings, and film projects documented the music of little-studied Jewish communities from around the world. After surviving the Holocaust, Spector earned her doctorate, founded the ethnomusicology department at the Jewish Theological Seminary, established the Society for the Preservation of Samaritan Culture, and served as president of the Asian Music Society. 

Beverly Sills was a trailblazing opera singer who, after a robust singing career at the New York City Opera Company (NYCO) and the Metropolitan Opera House, became the first female director of the NYCO, and the first female chair of the Lincoln Center board. Sills defied the odds in her career accomplishments while raising two children with disabilities and being actively involved with several charitable organizations.