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Disney+ series ‘A Small Light’ tells the Anne Frank story from the perspective of the woman who hid her
(JTA) — The short life of Anne Frank has inspired generations of filmmakers and television producers. The list of past productions range from “The Diary of Anne Frank” (1959), whose director George Stevens witnessed Nazi occupation as a U.S. army officer, to the Academy Award-winning documentary “Anne Frank Remembered” — featuring the only known footage of Anne — to the Emmy Award-winning dramatized miniseries “Anne Frank: The Whole Story” (2001).
On Monday night, viewers will get another TV version. But “A Small Light,” an eight-episode series premiering on National Geographic and streaming Tuesday on Disney+, tells the story from a new perspective: through the eyes of the woman who hid the Frank family.
Miep Gies was an independent 24-year-old with a busy social calendar and a dance club membership when she began working for Anne Frank’s father Otto in 1933 at Opekta, his successful jam business in Amsterdam. As Jews were rounded up and deported from the Netherlands in 1942, her Jewish boss asked if she would be willing to hide his family in an annex above the office, and she did not hesitate.
“A Small Light” stars Bel Powley as Gies, Joe Cole as her husband Jan Gies and Liev Schreiber as Otto Frank. It’s named for a quote from the real Gies, who once said that she did not like to be called a hero because “even an ordinary secretary or a housewife or a teenager can turn on a small light in a dark room.”
That metaphor had literal meaning for the Frank family and four others in the secret annex, who spent two years in a dark 450-square-foot space behind a hinged bookcase. Gies, her husband and four other employees of Otto Frank secretly kept eight Jews alive while running his business downstairs. Gies brought them food and library books, using black market ration cards and visiting several different grocers to avoid suspicion. Anne Frank said in her diary, “Miep is just like a pack mule, she fetches and carries so much.”
In the series, the “dark room” is seen less than Gies’ frenzied bicycle trips across Amsterdam, as she tries to sustain the appearance of a normal life. Her secret pushes her away from friends and family, while her marriage strains under the weight of ever-looming disaster. The creators of “A Small Light” sought to recreate a hero as a modern, flawed, at times even annoying person.
“She’s not some kind of saint,” executive producer Joan Rater told the Jewish Telegraphic Agency. “She had moods, she had a new marriage, she wanted to hang out with friends. She wanted to take a day off and she couldn’t.”
“I think everyone can relate to Miep,” said Powley, an English-Jewish actress known for starring in several British shows and in American films such as “The King of Staten Island.” “She was just an ordinary person in extraordinary circumstances.”
Although “A Small Light” is rife with tense scenes and suspense, the producers fashioned it with young audiences in mind. The show conspicuously avoids the explicit violence and horror typically expected of its subject matter, leaving out concentration camps and murders. Rater and co-creator Tony Phelan wanted children like their own to watch the series. While they were writing it, their daughter was the same age as Anne was when she was writing her diary.
Some young viewers have seen Anne’s story being swept up in literary purges across U.S. school districts, as part of the debate over what should be taught in American classrooms. Earlier this month, a Florida high school removed an illustrated adaptation of her diary after determining that references to her sexuality were “not age appropriate.” The same edition was previously yanked from a Texas school district, although it was reinstituted after public outcry. Meanwhile, a Tennessee school board banned “Maus,” Art Spiegelman’s Pulitzer Prize-winning graphic novel about his father’s experience in the Holocaust, after objections over curse words and nudity last year.
The name “Anne Frank” has long been synonymous with Holocaust education as her diary remains one of the world’s most-read books, with translations in over 70 languages. But the “relatable” rescuer presents another appealing way to teach children about one of the most wretched chapters in human history, said Brad Prager, a professor of German and film studies at the University of Missouri.
“It is the message that people like to hear,” Prager told the JTA. “If you ask a fourth-grader why we watch TV and movies — well, this is so that you can learn to do the right things, or you can learn that in certain circumstances anyone can be a hero.”
Liev Schreiber plays Otto Frank and Amira Casar plays Edith Frank in “A Small Light.” (National Geographic for Disney/Dusan Martincek)
A broader lens on the Netherlands during World War II is less palatable. The Germans and their Dutch collaborators implemented a highly effective system of persecution: Between 1942 and 1944, about 107,000 Dutch Jews were deported primarily to Auschwitz and Sobibor, then murdered. Only 5,200 of them survived.
Although Gies did everything she could to save the Jews in her care, the unwritten ending to Anne’s diary is well-known. Three days after her last entry in August 1944, Dutch police officers led by SS officer Karl Josef Silberbauer raided the annex. Gies escaped arrest by observing that she and Silberbauer shared a hometown.
“My luck was that the police officer in charge came from Vienna, the same town where I was born,” she said in a 1997 interview with Scholastic. “I noticed this from his accent. So, when he came to interrogate me, I jumped up and said, as cheerfully as I could, ‘You are from Vienna? I am from Vienna too.’ And, although he got very angry initially, it made him obviously decide not to arrest me.”
In a valiant last-ditch effort, Gies walked into the German police office the next day and attempted to buy her friends’ freedom. She was unsuccessful.
Gies found Anne’s notebooks and papers strewn on the annex floor. Without reading them, she gathered and tucked the writings into a drawer, hoping to return them to their owner. Germany had all but lost the war already, with Allied troops less than 250 miles from Amsterdam.
The Franks were packed on the last train ever to leave the Westerbork transit camp for the Auschwitz extermination camp. Otto was separated from his wife Edith and daughters Anne and Margot on the Auschwitz platform. In October, the girls were transported to Bergen-Belsen, and Edith succumbed to starvation in January 1945. Her daughters died of typhus a month later, when Anne was 15 years old.
Some studies have suggested that knowledge about the Holocaust is diminishing. In 2020, the Claims Conference found that 63% of Millenial and Gen Z Americans (ages 18-39) did not know that six million Jews were murdered in the Holocaust. More than 10% did not recall ever hearing about the Holocaust, while 11% believed that Jews caused it. Another Claims Conference survey reported that despite living in the country where Anne hid from the Nazis, a majority of Dutch people did not know the Holocaust took place there.
“In a time that antisemitism is on the rise and there are more displaced people in the world than there ever have been before, it couldn’t be a better time to re-explore this part of history, but through the lens of this ordinary young woman,” said Powley.
While “A Small Light” celebrates the power of the individual, the fate of Anne Frank also represents the failure of the whole world, said Prager. By centering Gies’ perspective, he said, the series risks making Anne a peripheral character in her own brutally aborted story.
“When you decenter Anne Frank, one thing is that you lose the Jewish perspective on the persecution,” he said.
Otto Frank, the sole survivor from the annex, appeared at Jan and Miep Gies’ doorstep after the war and ended up living with them for over seven years. In July 1945, Gies watched as he received the notice that his children were dead.
“He took it in his hands and suddenly he became eerily quiet,” Gies said in an interview for the Anne Frank House. “You cannot explain it, it was a silence that speaks. I looked up. He was white as a sheet. And he handed me the letter.”
Gies read the piece of paper, stood up and opened her desk drawer. “I took all the diaries, with all the separate sheets and everything and handed them over to Mr. Frank,” she said.
She told him, “This is your daughter Anne’s legacy.”
In 2010, Gies died at 100 years old. Every year on Aug. 4 — the day the Franks were arrested — she stayed at home, drew her curtains and did not answer the phone or doorbell.
Powley believes the show’s angle gives a fresh perspective on “your mom’s dusty copy of Anne Frank’s diary.” She approached the role of Gies with a heavy sense of responsibility.
“I feel a deeper connection to this story than I have with other projects,” she said. “This offer came to me on Holocaust Memorial Day and it immediately had that special feeling to it. My grandma, the Jewish matriarch of my family, died during COVID. I feel that she would be proud.”
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In Britain, a Jewish Culture Month aims to move the conversation beyond Oct. 7
(JTA) — In the almost three years since the Oct. 7, 2023, Hamas invasion of Israel, Great Britain has seen “a relentless focus on everything to do with the Jewish community in the public domain, and it’s about antisemitism or Israel,” said Adam Ma’anit, the communications manager for the Board of Deputies of British Jews.
Over the past four weeks, a flurry of performances, lectures and art exhibits has been an opportunity to move past that.
The Board of Deputies, which represents a community of diverse and often competing views under its umbrella, created Jewish Culture Month, a first-of-its-kind series held under the banner of “Less Oy, More Joy.” The month was designed to bolster Jewish communal confidence and to introduce wider audiences to aspects of Jewish life that rarely make headlines.
The month, which wrapped up Tuesday, sought to make clear that British Jewish identity is, and always has been, about far more than conflict. “We’re not defined as a community by pain,” Ma’anit told the Jewish Telegraphic Agency. “We’ve got great architects, writers, and musicians as well.”
Those artists were featured in more than 150 events over four weeks across the country at major museums and galleries , including London’s British Museum, Oxford’s Bodlein Library, Bath’s Little Theatre Cinema, Nottinghamshire’s National Holocaust Museum and local synagogues and private homes nationwide.
Among them was The Klezmer Village Band, which introduced Jewish culture to primary schools in Plymouth. “We wanted to bring Jewish culture back into the community,” Plymouth Jewish Community Director Louise Clements said. “This is the first time in many years that something like this has happened here.”
One of the band’s musicians, Ilana Cravitz, also noted after the event that “music is a wordless language. People respond from inside — they stop thinking, they feel. And we really saw that today.”
Notables featured throughout the celebrations included British broadcaster and television personality Vanessa Feltz, who spoke at the opening at London’s Freud Museum; comedian Bennett Arron, who performed stand-up routines in Hampstead, London; and acclaimed British artist and vocal Israel critic Anish Kapoor, whose exhibit opening on Tuesday closed out the month.
“Part of Jewish Culture Month is about us celebrating our own culture and being proud, British Jews, and asserting ourselves in an environment where it has been the most challenging to be that very British Jew,” said Ma’anit.
The Holocaust Memorial Day Trust noted another aspect of the festival soon after it kicked off on May 16. “At a time when division and prejudice continue to affect communities across the country, initiatives like Jewish Culture Month can help build understanding and strengthen social cohesion,” it posted social media.
However, some thought it difficult to focus on social cohesion when discussing contemporary British Jewish identity without discussing how that identity dovetails with British Jews’ relationship with Israel.
It’s something that Jewish Renaissance, the online magazine of Jewish culture, raised ahead of the opening. Freelance writer and former Jewish Quarterly editor Matthew Reisz wrote that while there was definitely diversity in the program, “We seem unlikely to hear much about the deep divisions within the community, not least in relation to Israel/Palestine, or the crucial, though often tense dialogue with other minority communities on both shared and contentious issues.”
Ma’anit insisted that the choice was a deliberate one. “It’s not a rejection of Zionism or distancing ourselves from Israel,” he said. “Quite the opposite. The board’s leadership remains openly supportive of Israel and many of the figures involved in the project have deep personal and family ties to the country.”
Israeli-born Ma’anit is one of those figures. He is the cousin of the Idan family of Nachal Oz, a kibbutz close by the border with Gaza. Eighteen-year-old Maayan Idan was shot and killed by Hamas terrorists on Oct. 7 while trying to help her father, Tsachi, hold their safe room door closed. The entire event was livestreamed by the terrorists. Tsachi was abducted into Gaza, where it was believed he was still alive as the war on Gaza raged. It was discovered only later that he had been murdered, with his body finally returned in the hostage deal in February 2025.
Ma’anit, who spent those years lobbying for the hostages’ return, appearing on news programs and organizing hostage vigils in his hometown of Brighton, has been forced to meld the personal with the professional when it comes to the post-Oct. 7 era.
It’s why, he said, Jewish Culture Month is about creating space for aspects of Jewish identity that have been overshadowed post Oct. 7. “The argument is not that Israel is unimportant,” he said, “it’s that Jewish life cannot be reduced to Israel alone.”
Yet even without a focus on Israel and Zionism, the month did not pass without the conflict in the Middle East affecting the program. In May, a culture month lecture titled “Ancient Israel and Judah” at the British Museum had to be postponed, the museum said, because of “security concerns” over potential “disruptions” by protesters who had obtained tickets. The rescheduled event, held June 11, was the best-attended of the entire series, with around 4,000 people joining in person and online.
Ma’anit called the incident “overblown. It was just procedural,” he said. “People fill in the blanks and then it gets out of control.”
However, the speed with which the controversy escalated and elicited angry reactions from many in the community only served to highlight how questions about Jewish visibility and any event with “Israel” in the name — even a reference to thousands of years ago — have become highly charged in the last three years.
“It just shows how on edge the community is,” Ma’anit said.
That has intensified the need for something like Jewish Culture Month in the eyes of many British Jews. Steph Thwaites, head of a group dedicated to helping Jewish publishing professionals navigate an increasingly hostile publishing industry, said after a Jewish Culture Month event on the topic that the professionals felt “a sense of community and a source of comfort,” as well as a space to “combat anti-Jewish racism in publishing and to support Jewish creatives.”
Ultimately, as UK Communities Secretary Steve Reed put it in his speech at the launch of the festivities, Jewish Culture Month “is a time to celebrate Britain’s Jewish community and its contribution to our shared story. It’s a time for coming together. It’s a time for friendship. Jewish experience cannot just be about defending against fear; it also has to be an expression of hope and joy and freedom.”
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This Jewish activist was arrested and deported for her book ‘Lesbian Love.’ 100 years later, will NYC apologize?
In 1926, New York City police arrested Eve Adams, a Polish-Jewish immigrant who ran a lesbian bar in Greenwich Village, for the crime of being gay.
The formal charges were more euphemistic. Officially, Adams was charged with disorderly conduct — that is, flirting with an undercover police officer who had entrapped her, and obscenity, for writing and possessing the book Lesbian Love.
The following year, the U.S. government deported Adams to Poland, in what was effectively a death sentence: 16 years later, Adams would be murdered at Auschwitz.
Now, a century after Adam’s arrest, Manhattan Borough President Brad Hoylman-Sigal — the first openly gay person to hold the elected position — is urging New York City Mayor Zohran Mamdani to formally recognize the city’s role in Adams’ persecution.
He sent a letter to Mamdani requesting that the city issue a formal declaration acknowledging Adams’ conviction in 1926 “was unjust and rooted in discriminatory law enforcement and affirming that New York City failed her as a pioneer of LGBTQ+ life, as an immigrant, and as a Jewish woman who was ultimately deported to her death.”
“Adams’s story is among the most unjust in our city’s history,” the letter reads. “One hundred years after her arrest, we have the obligation and the opportunity to say plainly that she deserved better.”
In a statement to the Forward, the Mayor’s office said they are reviewing the request.
“The Mamdani Administration is deeply committed to uplifting the stories of New Yorkers that have gone unheard throughout history,” deputy press secretary Sam Raskin said.
A pioneer
Born with the name Chawa Zloczower in Poland in 1891, Adams immigrated to the United States through Ellis Island at age 20.
In America, she adopted the name Eve Adams — a playful nod to her androgyny, invoking the biblical Adam and Eve — and wore men’s clothing.
“She was a vibrant activist, who was daring. She had an androgynous appearance, which immediately identified her as a lesbian,” said Jonathan Ned Katz, author of The Daring Life and Dangerous Times of Eve Adams. “Wearing pants for women was just unthinkable in the time period.”
Adams soon immersed herself in New York’s anarchist circles, befriending prominent Jewish anarchists Emma Goldman and Alexander Berkman. She worked as a traveling saleswoman for leftist publications including Mother Earth, activities that landed her on the Bureau of Investigation’s watch list during the First Red Scare.
In 1923, Adams published Lesbian Love, a collection of essays about the romantic lives of dozens of women in Greenwich Village. Katz described the book as far ahead of its time.
“The word “lesbian” was not used much. It was like a dirty word at the time, so you didn’t say it out loud,” Katz said. “Here she was, putting it on a book jacket.”
Two years later, Adams opened Eve’s Hangout in Greenwich Village. The underground tearoom became a rare refuge where lesbian women could socialize openly.
But the haven proved short-lived. In 1926, an undercover detective named Margaret Leonard visited Eve’s Hangout, where she met Adams. The following day, the two attended a play in Times Square together. Adams gave Leonard a copy of Lesbian Love — evidence of “obscenity” that prosecutors later used against her — and Leonard alleged Adams made sexual advances toward her during the taxi ride to the theater.
Adams was convicted and spent 18 months in jail before the United States deported her to Poland.
She settled in Paris, where she began a relationship with Jewish cabaret singer Hella Olstein Soldner. In 1943, the two women were arrested and sent to the Drancy internment camp. From there, they were deported to Auschwitz, where both were murdered.
Adams’ legacy
Over the years, Adams has come to be recognized as a Jewish LGBTQ icon. Her life inspired the play The Great Lesbian Love of Eve Adams, and she was the subject of a New York Times obituary published as part of the newspaper’s “Overlooked” series, which chronicles the lives of notable people throughout history whose deaths went unreported.
Hoylman-Sigal said he was inspired to commemorate Adams by the NYC LGBTQ Historic Sites Project, a nonprofit that documents local queer history, which asked him to send the letter to Mamdani. The Sites Project also offers historic walking tours of the city featuring Adams’ story.
“Their jaws drop when we tell them these stories, standing in front of the building where her tea room was,” said Ken Lustbader, co-founder of the NYC LGBT Historic Sites Project.
On Wednesday, the centennial of Adams arrest, the Sites Project is hosting a performance and vigil in Adams’ honor at the former site of Eve’s Hangout — today, home to La Lanterna, an Italian cafe and pizzeria.
The site of Eve’s Hangout has also been recognized by the National Park Service as part of a roundup of Greenwich Village landmarks significant to LGBTQ history.
New York City, however, has never formally acknowledged the injustice of Adams’ arrest, conviction and deportation.
A posthumous apology would be unusual, though not without precedent: In 2019, the NYPD formally apologized for its 1969 raid on the Stonewall Inn, describing the department’s actions as “discriminatory and oppressive.”
“I would love to see the mayor do it, but we could have one from the police department — an apology for sort of framing her,” Katz said. “They sent in a plainclothes policewoman to entrap her, and so that was really beyond a democratic process.”
The NYPD did not respond to the Forward‘s request for comment.
Whether or not the city issues an official acknowledgement, Hoylman-Sigal said he hopes the campaign will help keep Adams’ story alive.
“It’s an extremely poignant story, sorrowful, outrageous, sad — and one that most people don’t know about,” he said. “So I thought bringing attention to it was a righteous cause.”
Jacob Kornbluh contributed reporting.
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Ever the restless spirit, Tel Aviv-born architect and designer Ron Arad is still reinventing himself and his art
When the announcement was made on June 12 that Ron Arad, 75, has been appointed a Commander of the Order of the British Empire (CBE), it marked another step in the Tel Aviv-born architect, artist and designer’s remarkably varied journey. Arad’s mother was the painter Esther Peretz-Arad and his father Grisha was a sculptor and photographer. After industrial design studies at the Bezalel Academy of Arts and Design in Jerusalem, Arad traveled to London to become an architect, and has remained based there ever since. Yet although he won early fame with his piquant, witty concepts for chairs, Arad has proven anything but sedentary over the past half-century. Indeed, a 2010 retrospective at London’s Barbican Art Gallery was titled “Restless.”
Despite this seemingly permanent shpilkes (restless agitation), humane consideration for the pathways of others has been a constant in Arad’s public projects. His design for Beit Shulamit (2025), a cancer treatment center at the HaEmek Medical Center in Afula, northern Israel, intended to serve Jewish, Christian, Muslim and Druze communities in Israel and Palestine, deliberately freed patients and visitors from “horrible hospital corridors,” Arad told an architectural periodical. Patients walking around the site are given views of nature outdoors at every turn, in a facility that is the first to offer specialist cancer treatment for residents of West Bank conflict zones, including the cities of Jenin and Nablus. Named in honor of Dr. Shulamit Katzman, a pediatrician, the building’s gently curved lines embrace the public.
This awareness of social cohesion is also present in an Arad sculpture on the Tel Aviv University campus. “Kesher” is dedicated to the estimated 4,000 Ethiopian Jews who died from adverse conditions in transition camps on the Sudanese border while trying to emigrate to Israel between 1979 and 1990. Composed of dynamically soaring, interwoven metal tubes, the artwork, wrapped around two live palm trees, a ubiquitous symbol of the Middle East, evokes an expedition. A repeated figure-eight symbolizes the endless continuity of the immigrants’ route and the resolve that it communicates.
In England, Arad assisted the National Health Service (NHS) in responding to the COVID-19 pandemic. A flock of UK Jewish celebrities posed for photos wearing Arad-designed cotton masks, including actor Stephen Fry, comedian David Baddiel, and television host Natasha Kaplinsky. Despite lively colors, the masks, intended to be sold for fundraising, retained a somewhat tragic aura, like the grotesque permanent smile of Victor Hugo’s Gothic novel The Man Who Laughs.
Potential tragedy inherent in triumph likewise radiates from another Arad project, the Totzeret HaAretz (ToHA) tower, an office skyscraper in central Tel Aviv which was inspired by the shape of an iceberg. Its angular glass, built as the polar ice caps are rapidly melting and the fate of the passenger liner Titanic’s collision with an iceberg is particularly relevant, the ensemble when complete will include an 80-floor companion tower, Tel Aviv’s tallest building.
Similarly, Arad is aware of the agony of defeat as well as artistic victories he has experienced over the years. When his codesign for a National Holocaust Monument Ottawa in Canada failed to win a competition, Arad published the concept anyway. The result is a highly literary, theological rumination on the impact of the Shoah on modern Jewish history. Ever conscious of the pedestrian’s progress, Arad’s design featured concrete walls framing 22 narrow passageways, one for each country in which Jewish communities were decimated. These walls, spaced around a meter apart, would have allowed only one visitor to fit through at a time. The solitude would have been lessened by an architectural allusion to the covenant of the pieces (Brit Bein HaBetarim), the first of a series of covenants between God and the Patriarchs. In this narrative, God revealed himself to Abram (later Abraham), promising that his descendants would inherit the Land of Israel.
Less loftily or weighty with destiny, Arad’s chief promise as an artist is to his own creativity. He was so inspired by a melody by the American Jewish songwriter Jonathan Richman about shedding personal inhibition and pretension by accepting new, unfamiliar surroundings and contexts, that in all seriousness he informed an interviewer in 2005 that he wanted Richman’s tune, “I Was Dancing In The Lesbian Bar” to be played at his funeral. Another impeded project where dancing might have been at least delayed was a London Holocaust Memorial and Learning Centre design, initially approved in 2017, but later bogged down by objections about its proposed site, Victoria Tower Gardens, next to the Houses of Parliament. However, in January, a Holocaust Memorial Act 2026 received Royal Assent, officially clearing a legal hurdle blocking the construction of Arad’s UK Holocaust Memorial; the recent conferral of a CBE by Charles III, known to take particular interest in Jews and Holocaust victims, represents further establishment endorsement of Arad and his work.
Despite this authorized approval, Arad looks likely to remain an offbeat spirit, drawing inspiration from a wide range of predecessors, including the Czernowitz-born Austrian Jewish creator Friedrich Jacob Kiesler who innovated with 1965’s “Shrine of the Book” in Jerusalem to house the Dead Sea Scrolls and the Aleppo Codex, among other texts. Kiesler was also responsible for an unbuilt architectural concept, the Endless House, a biomorphic, continuous form with no beginning, end, or even boundaries between floor, wall, and ceiling. Some Arad projects resemble completed versions of things Kiesler and his fellow Jewish surrealists might have only dreamed of.
When it is built, Arad’s Holocaust Memorial will pay tribute to several minority groups targeted by the Nazis, in addition to the Jews. The Learning Centre is intended to explore antisemitism, but also extremism, Islamophobia, racism, homophobia and other forms of prejudice in today’s society. Much of it will be underground, drawing visitors down narrow stairs into the exhibition space and learning center, in yet another example of Arad’s obsession with peregrinations, like a modern-day architectural Benjamin of Tudela, a medieval Jewish traveler. Ever shedding past identities, Arad told the 2005 interviewer that the living person he most admired was Bob Dylan, for “reinventing himself and for reinventing us.” In a comparable way, Ron Arad has also reworked his own optic to express modern Jewish identity in a variety of forms, as an excursion hampered by tragedy and ominous echoes at times, but also with the possibility of quick-witted celebration.
At last year’s Royal Academy Summer Exhibition, Arad presented a bronze sculpture titled “I doubt therefore I think” (Dubito Ergo Cogito). Inviting museumgoers to sit on it, the artwork likely referred to a time-honored Jewish tradition of doubt as the mitzvah of questioning. This mitzvah has accompanied Arad’s career-long odyssey in the arts.
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