Four voices rise in harmony, and I recognize the tune before the emblematic refrain: “There’s No Business Like Show Business.” The sanctuary feels alive—and this is only a rehearsal! On January 31st at 8pm, the annual Shabbat Shira concert returns to Congregation Dorshei Emet in Hampstead. This year’s production, Dorshei goes Broadway, is an original show curated, written, and directed by local artist Adina Katz. The concert is a stunning collection of showtunes emphasizing Jewish composers and themes from throughout Broadway’s history. It features Montreal performers Moriel Shahin, Richard Martz, Sophie Eiser, and Mikey Samra, with piano accompaniment by musical director Daniel Witkowski. At a recent rehearsal, I caught a behind-the-scenes look at a night that promises vibrant music, local Jewish talent, and a strong sense of community.
Dorshei Emet, Montreal’s Reconstructivist Synagogue, is known for its spirited services and lively celebrations. Each year, the congregation marks Shabbat Shira – literally, “the Sabbath of the Song” —with an epic concert centered on joy and togetherness. Past performances have included klezmer-hip hop artist Socalled and the Yene Velt Yiddish String Ensemble, setting a high bar for creativity and musical excellence.
This year, Katz turns the spotlight onto local talent. The entire cast and creative team are seasoned performers in Montreal’s theatre scene, and their ease with one another is immediately apparent. They move and laugh like old friends—because in many cases, they are. Some of their shared histories stretch back to performances at Montreal’s Bialik High School. Banter flows easily, and harmonies even more so. Their closeness yields music both intimate and inviting.
Equally compelling is Witkowski’s piano accompaniment, whose playing adds both depth and warmth. In a conversation with Nu, Witkowski spoke about the profound influence Jewish composers have had on Broadway. While Jewish themes are obvious in classics like Fiddler on the Roof, other instances are more subtle. In George Gershwin’s Porgy and Bess (1930), for instance, the opening melody of “It Ain’t Necessarily So” bears a striking resemblance to the Barchu, the chant sung before reading the Torah. According to Witkowsky, this is just one example of Jewish cantorial style embedded in American theatre.
Jewish artists like Gershwin are disproportionately represented on Broadway, and Katz sought to explore this question in the production. The set list for the concert is made up almost entirely of songs by Jewish composers. The set includes iconic numbers like “Over the Rainbow,” from The Wizard of Oz (1939), alongside lesser-known tunes like “Mushnik & Son,” a song cut from the film version of Little Shop of Horrors but featured on Broadway. From Annie Get Your Gun (1946) to Aladdin (2011), Katz’s twenty-one carefully curated song selections glide through eras and styles, taking the audience on a journey that highlights the enduring influence of Jewish voices on Broadway.
At the heart of Jewish Broadway, Katz identified the sound of longing threaded through themes of immigration, assimilation, and hardship. These realities reflect Jewish life in 1920s New York, but they are relatable to broad audiences today. The universality of these messages, Katz suggests, helps explain the lasting success of Jewish composers in American musical theatre. Broadway becomes not just entertainment, but a powerful vehicle for empathy and shared human experiences.
The care behind the selections suggests a concert that will resonate widely, welcoming audiences of all backgrounds. Paired with the energy and humour shown in rehearsal, Dorshei Goes Broadway promises a celebration of showtunes, Jewish talent, and the stories that bring us all together.
This is a night you do not want to miss. Purchase your tickets here!
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