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A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story.

(New York Jewish Week) — On a Wednesday evening last month, three generations of a Jewish family made their way to their seats at the Longacre Theater to see “Leopoldstadt,” Tom Stoppard’s epic Broadway play about the tragedies that befall an extended Jewish family in the first half of the 20th century in Vienna.

The date of the family gathering was a significant one: Nov. 9, the 84th anniversary of the Nazi pogroms known as Kristallnacht. And in the audience was Fini Konstat, 96, who lived in the once thriving Jewish neighborhood after which the play is named, and witnessed the horrors it portrays first-hand. Alongside her were her daughter and her son-in-law, Renee and James Akers, and her oldest great-grandchild, Lexi Levin, 23.

When Konstat was a child, she lived in a “nice apartment” in Leopoldstadt. But exactly 84 years to the day of their theater date, “I was running with my father, seeing all the Jewish stores with all their windows broken,” she told Levin in a short video her great-granddaughter filmed before the curtain rose.

“It’s such a blessing for me to be here with you,” Levin said to her great-grandmother in response. “Ninety-six years old, survived a pandemic, at a Broadway show in New York City.”

Left: Fini as a child on the balcony of her apartment in Leopoldstadt. Right: Fini with her three children in front of the very same building, pictured in 2015. (Courtesy)

Since the beginning of its Broadway run in mid-September, “Leopoldstadt,” with its depiction of a prosperous Viennese family on the brink of destruction, has moved audiences to tears and inspired deep reflections on the Holocaust. Based on the celebrated playwright’s own family history — of which he was barely aware while growing up in England — it has provided a stark counterpoint to news about rising antisemitism and the celebrities who have been purveying it.

But for Konstat, the play was much more personal. “When I heard the word ‘Leopoldstadt,’ this alone gave me lots of thrills and memories,” Konstat, who is known in her family as Mimi, told the New York Jewish Week in accented English. She recalled how Levin, who recently moved to the city, invited her to fly to New York to see one of Broadway’s hottest tickets.

“Leopoldstadt,” she repeated, her voice breaking. “The second district. That’s where we lived.”

At the end of Stoppard’s five-act play, audiences learn that most of the Jewish characters had perished under the Nazis — of the four generations in the show, just three cousins survive to carry on the family’s legacy.

For Konstat too, she and her parents were among the very few in their extended family to survive the Holocaust. “Almost all of them went to Auschwitz or other camps,” Konstat said. “My mother was a twin and only the twins remained alive. [My mother’s] five other siblings and my grandmother perished.”

L-R: Renee Akers, James Akers, Lexi Levin and Fini Konstat at the Longacre Theater to see Tom Stoppard’s ‘Leopoldstadt on Broadway,’ Nov. 9, 2022. (Courtesy)

In a Zoom conversation held over Thanksgiving weekend, Konstat, surrounded by two of her daughters, two of her granddaughters and three of her great-granddaughters, shared what the play meant to her — and how her family has restored what she lost.

In the months after Kristallnacht in 1938, Konstat and her parents hid in a neighbor’s apartment; Konstat recalls hiding under the duvet when German soldiers showed up. Eventually the family fled to Turkey, and then to India, before settling down in Mexico City. There, the teenage Fini met her husband David, also a survivor who escaped Poland. The two of them began to write the rest of their story — starting with the birth of the first of their three children in 1948.

Unlike many Holocaust survivors, Fini and David Konstat were open about their experiences during the war, instilling a sense of pride and duty to remember in their children — something that eventually extended to their grandchildren and great-grandchildren.

“They were proud to speak about how they survived this,” said the Konstats’ middle child, Renee Konstat Akers. “Their life was an odyssey. They had the courage to do things that you would never think were possible. We grew up grateful knowing how our family survived in that incredible way.”

Each child moved to different places as they grew up and got married. Manuel, the oldest, stayed in Mexico. Renee married an American and moved to the Midwest, and Denise, the youngest, to Houston. Each became deeply involved in their Jewish communities, sending their children (Konstat’s grandchildren) to Jewish day schools, celebrating Jewish holidays and participating in synagogue life.

“The word ‘miracle’ really does not feel like an understatement in this scenario,” said Sherry Levin, one of Konstat’s grandchildren. “When we think about what it took for my grandmother and grandfather to survive and how they were able to intersect in Mexico, and such an amazing multi-generational family has come to fruition, it feels miraculous.”

Pictured here on their 40th anniversary, Fini and her husband David met in Mexico City after both had fled Europe. They were married 54 years before David died in 2001. (Courtesy)

Reviews of the show have ranged from rhapsodic to resistant, with some critics suggesting the play is simplistic and obvious in its story-telling or that it is less a well-crafted play than a well-meaning lesson on the Holocaust.

But just as the Merz family clashes and argues about everything from antisemitism to intermarriage to socialism in “Leopoldstadt,” each generation of the Konstat family that saw “Leopoldstadt” that night came away with something different —  a reaction influenced by their age, their Jewish identity, their nationality and their relationship with their family.

For Konstat, the arc of “Leopoldstadt” was so familiar that it hardly stirred her. “It was just very happy watching it and enjoying it and enjoying my children with me, “ she told the New York Jewish Week. “I didn’t think about anybody else.”

Akers, too, felt an intense familiarity with the story, and, perhaps toughened by her own family history, didn’t experience an intense emotional reaction. Her own parents’ lives gave Akers a sense of purpose in her life — for example, in the 1990s, she was passionate about helping resettle Jews fleeing the former Soviet Union. With her own children, she instilled in them a strong sense of Jewish purpose in their work, their education and their family.

“I was a sandwich in between seeing my mother and my granddaughter,” she said of her “Leopoldstadt” experience. “I was emotional thinking of my mom who went through it, but I was more emotional about seeing my granddaughter be so moved. It really hit her at her core.”

Indeed, it was the youngest member of the family present that night who was most shaken by the play.

“It really felt like a gift to my family and to me, specifically, to be able to see what Mimi’s life looked like before the war,” Lexi Levin said, surmising that, as a fourth-generation survivor, she is among the first in her family to be able to start processing the loss on a grander scale.

“For the first time in my life, I really felt the magnitude of her loss,” she added. “I’ve known her story and I’ve been inspired by her story to be involved with my own Jewish causes, but I have never been able to access and truly empathize with her grief and what it meant that she lost the entire family she had before this one that she created.”

Turning to her great-grandmother, as if trying to make her understand the exact precision of the show, Levin explained, “It’s a play about generations and the family was large and then it was small.”

“You made it large again,” she said, referring to the generations of family that had assembled — in the Broadway theater and again over Thanksgiving weekend. “Look at this room.”

Pictured on her 90th birthday in 2017, Fini Konstat now has three children, ten grandchildren and twenty great-grandchildren. (Courtesy)

There was a coda for the family after the curtain went down. The day after the show, the family wanted to see the 1907 “Portrait of Adele Bloch-Bauer I,” one of Gustav Klimt’s most famous paintings, which currently hangs at the Neue Galerie on the Upper East Side. A version of the portrait’s true story — how a painting of a socialite from a prominent Viennese Jewish family was looted by the Nazis and the family’s efforts to get it back — features in the plot of “Leopoldstadt.”

The gallery, however, was closed on the only day the family could visit. After a call to the management at the gallery, which showcases the German and Austrian art collections of  Jewish philanthropist Ronald S. Lauder, the gallery’s director arranged a private tour.

“It felt like we were in a puzzle and everything was finally coming together,” said Akers. “It was an emotional, emotional time.”

When the week was over and the emotions were spent, Konstat and the Akers returned home with a reignited passion for their family story. But there was yet another twist: In addition to the whirlwind trip Levin planned for her grandparents and for Mimi, she had been undergoing the laborious process of applying for Austrian citizenship. Six members in Konstat’s large family have undertaken the process over the last two years.

“Part of the motivation was knowing Mimi’s story, and knowing that she survived because her mother had citizenship in Turkey,” Levin said. “That story was just inspirational to me, knowing that dual citizenship was what saved our family.” She convinced her brother and mother to apply for Austrian citizenship as well.

The day after her grandmother and great-grandmother left New York, Levin called them with news from her small apartment in Manhattan: An Austrian passport had arrived in the mail. The curtain was rising on another act.

Konstat was surprised at how interested her family was in getting Austrian citizenship. “I feel very good,” she said. “I’m very happy.”

“Does it make you emotional?” Levin asked her during the Zoom call with the New York Jewish Week.

“It does — of course it does. I used to love Austria,” she said. “I was sad to leave. I was disappointed. We never thought of coming back. I was happy to be able to escape. Thank God we made it out of hell.”


The post A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story. appeared first on Jewish Telegraphic Agency.

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Who needs a Reichstag fire when you can just pretend Portland’s burning?

Here in Portland, this supposed city of darkness, happy kids splash around in a fountain next to the sparkling Willamette River, senior citizens practice tai chi in a park, bald eagles and ospreys soar past office building windows, chefs and bakers win national awards, world-class jazz musicians draw locals into clubs, and hiking trails course through the largest urban forest in the country, with glacier-draped Mount Hood as a backdrop.

It’s hardly the hellscape depicted by Donald Trump. What the city is, however, is a primary target in Trump’s scheming to militarize American cities — at least progressive ones like Portland, my home for the past 25 years.

Demonstrations have continued outside an ICE facility in Portland since the summer. The protests have been small, overall peaceful, occasionally tense, but often cheery — such as the time when a group of elderly Portlanders sang “This Land Is Your Land.” But Trump is using the protests as an excuse to launch what local officials and residents fear could be a major military intervention in the city, turning Portland, in essence, into a domestic battleground.

Trump is employing a playbook that’s eerily similar to ones that have been used by despots, including Adolf Hitler, who consolidated his control over Germany by deploying Sturmabteilung shock troops to spread fear across the populace.

Trump has effectively weaponized ICE as his own personal police force, and is using it to bait protestors into clashes and create a pretext for exerting military-style control over cities led by Democrats. From the very beginning of Trump’s second term, federal agents’ pursuit of undocumented immigrants has been marked by the spread of fear and terror. Trump says ICE’s heavy-handed tactics are necessary to fulfill his promise that undocumented immigrants “will not be tolerated.” But the scale and spectacle of ICE actions suggest another motive: to manufacture war-like images that justify crackdowns on leftists, whom Trump routinely portrays as domestic terrorists.

So far, no ICE raid has been more chilling than its assault last week on a five-story apartment building in Chicago. In the dead of night, armed federal agents rappelled from Black Hawk helicopters onto the roof. Others stormed the building from the ground, kicking down doors, throwing flash-bang grenades, and zip-tying screaming children and elderly residents. The target of the raid was a Venezuelan gang. But Illinois Gov. JB Pritzker said many of those who were arrested were U.S. citizens with no criminal record — which has been disputed by the Trump administration.

Two weeks earlier, a pastor praying outside a Chicago ICE processing center was struck in the head by a pepper ball fired from a roof and then sprayed with tear gas as he lay on the ground. He has since sued ICE, alleging violations of religious freedom and free speech.

After weeks of threats, Trump has federalized 300 Illinois National Guard troops and ordered hundreds more to deploy from Texas — using protests against immigrant detention as a pretext for putting soldiers on the streets. The move defies the spirit of the 1878 Posse Comitatus Act, which bars the use of federal military forces to enforce civilian law without explicit congressional authorization.

At a press conference, Pritzker voiced angry defiance toward what he called “Trump’s invasion.”

“The state of Illinois is going to use every lever at our disposal to resist this power grab and get (Homeland Security Secretary Kristi) Noem’s thugs the hell out of Chicago,” Pritzker said.

Portland might well be next.

Over the weekend, a federal judge in Oregon, appointed by Trump in 2019, issued two rulings temporarily blocking his attempts to deploy National Guard troops to Portland. In a blistering decision Saturday, U.S. District Judge Karin Immergut wrote that Trump’s claims of a “war zone” were “simply untethered to the facts.” She added: “This is a nation of Constitutional law, not martial law.”

When Trump tried to circumvent her ruling by ordering California National Guard troops into Oregon, Immergut blocked that maneuver too, writing: “The executive cannot invoke emergency powers based on manufactured chaos.”

Trump responded by claiming that “Portland is on fire,” and threatened to invoke the Insurrection Act, which legal experts note would effectively amount to imposing martial law.

Trump’s description of the situation in Portland is grossly exaggerated, and intentionally so. The protests have occurred in a very small area around the ICE detention center. There have been clashes involving pepper spray, but no ongoing battles. The scene is actually more like an episode of the TV show Portlandia. During Kristi Noem’s visit to the facility on Tuesday she was mocked by activists wearing inflatable animal costumes, including a dinosaur, a raccoon and a chicken. An activist in a giant toad costume has become a social media sensation, especially after an ICE agent shot pepper spray into the air vent on the costume’s back side. Another image making the social media rounds shows protestors using donuts dangling from fishing poles to taunt ICE agents — “ICE fishing,” as they call it.

Portland wears its progressivism on its sleeve, which does not always work in the city’s favor. During the 2020 Black Lives Matter protests downtown, city officials faced accusations of being too lenient on leftist agitators. Riots during those protests, coupled with COVID, led to the closure of numerous downtown stores. Leftists who relish confrontation with right-wing counter-protesters have posed another challenge. During one protest in late August 2020, Trump supporters rode their pickup trucks into downtown Portland and picked a fight with leftist demonstrators. That night, a right-wing counter-protester was shot and killed by a self-described anti-fascist activist, who was later tracked down and fatally shot by federal agents in neighboring Washington state. Before fleeing, the shooter said he was defending himself.

Even before Trump, Portland has had a rocky relationship with federal authority. The city was the site of massive protests against President George W. Bush’s 2003 invasion of Iraq. In 2019, Portland became the second U.S. city — after San Francisco — to withdraw its police officers from the FBI’s Joint Terrorism Task Force, citing concerns over civil liberties and lack of transparency. In the 1990s, staffers for the first President Bush dubbed Portland “Little Beirut” in response to raucous anti-war protests that greeted his visits.

During his visit to Quantico Marine Base, Trump told top military commanders, “We should use some of these dangerous cities as training grounds for our military.” He singled out Chicago, Portland, Seattle, and Washington, D.C.  For now, Portland’s resistance may resemble a surreal episode of protest theater—complete with inflatable dinosaurs and the viral “anti-fascist” frog. But there will be no cause for chuckling if the city becomes a proving ground for martial law, with federal troops rehearsing the suppression of dissent.

The post Who needs a Reichstag fire when you can just pretend Portland’s burning? appeared first on The Forward.

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Jewish women struggling with early menopause due to cancer treatment find new help

Beverly was 41, had two children and was contemplating a third when her first mammogram revealed a lump. Diagnosed with breast cancer, Beverly, who lives in Portland, Oregon, opted for chemotherapy, immunotherapy and a double mastectomy.

She knew the chemo would affect her fertility. What she didn’t know was that the type of cancer she had would necessitate hormone suppression drugs that would lead to severe menopausal symptoms.

For Beverly, now 46, that meant hot flashes, vaginal atrophy, zero libido, thick curly hair that turned straight, sparse and wispy, and what she describes as “old lady bones.” 

“If I’m lucky enough to live to 95, am I just going to crumble into a pile of chalk?” she said.

Beverly, who asked that her last name be withheld for privacy reasons, is not alone in experiencing severe menopausal symptoms following breast cancer or ovarian cancer treatment or prophylactic surgery, which entails breast and/or ovary removal, sometimes along with removal of the uterine and fallopian tubes.

Risk-reducing surgery is often recommended for women who carry a BRCA1 or BRCA2 gene mutation, which significantly increases the risk of breast and ovarian cancer. These mutations are found in Ashkenazi Jews — in both women and men — at rates about 10 times higher than in the general population.

For women who test positive, surgery can reduce the risk of developing ovarian cancer by over 75%. There may also be reduced risk of breast cancer, though research findings are mixed.

While hormones gradually decline as older women approach menopause, younger women who undergo surgery-induced menopause may experience a sudden and dramatic hormonal crash.

“Natural menopause is gradual; surgical or medically induced menopause is intense,” said Elana Silber, CEO of Sharsheret, a Jewish nonprofit organization that provides support, counseling, patient navigation, financial assistance and education in the United States and Israel for those facing breast cancer and ovarian cancer.

“Doctors focus on immediate cancer treatment plans; Sharsheret helps support and educate women about what comes next,” Silber said. “We highlight these critical issues so that women know to raise them with their healthcare providers, and we make sure they don’t face those questions alone.”

As public discussions about menopause have become more common, Sharsheret has fielded a growing number of inquiries from young women seeking information on the subject and ways to connect with peers. Many are navigating an abrupt and frightening transition for which they never prepared, and they sometimes describe it as even more traumatic than their breast surgeries.

“Menopause brought on by breast cancer surgery or treatment doesn’t follow a normal, natural progression,” said Adina Fleischmann, Sharsheret’s chief services officer.

Sharsheret has responded by connecting women with social workers and genetic counselors to help them understand both the medical and emotional impact of treatment-induced menopause.

Through peer-to-peer connections, survivors are matched with others who have gone through the same surgeries and drug regimens. They get real-world perspectives that many women say they don’t receive from their physicians.

The organization also provides survivorship kits, medical webinars, and tailored educational materials on sexual health, bone strength, fertility preservation, and non-hormonal strategies for coping with hot flashes, sleep disruption, and vaginal dryness.

Beyond the physical symptoms, it’s not uncommon for women undergoing early menopause to experience depression, according to Dr. Gila Leiter, an Ob/Gyn affiliated with New York’s Mount Sinai Hospital and a member of Sharsheret’s medical advisory board.

“Knowing what symptoms to expect — and expect pretty suddenly — is very important,” Leiter said.

Liora Tannenbaum, Sharsheret’s Israel regional director, underwent risk reducing surgeries as a result of being a BRCA carrier. She said she was less fearful of the physical recovery from having her ovaries and uterus removed than when she did her double mastectomy, but she was terrified of the emotional and mental recovery.

“As much as I looked for people to talk to for support who had been through this, I found that so many women were suffering in silence,” Tannenbaum said. “The lowered tones and discomfort around the entire conversation caught me by surprise.”

One woman, M., 44, recalled symptoms “hitting like pile of rocks” after surgery five years ago to remove her ovaries, fallopian tubes and uterus. (She asked to use only an initial to preserve her privacy.)

Just 23 when she lost her mother to ovarian cancer, M. was 28 when she learned she carried the BRCA1 mutation. She spent several years considering her options before ultimately choosing to remove her ovaries and uterus.

“It took me a long time,” M. said. “The biggest concern is you want to have kids, and when you have these surgeries you can’t have kids.”

Most doctors, including M.’s, recommend such surgery by age 40. By 39, after two children, a third miscarriage, and ongoing exams, a suspicious finding — which proved to be nothing — made her doctor insist on risk-reducing surgery if she wanted to live to see her kids’ bar mitzvahs. 

“I was already considering surgery, and that scare pushed me to do it,” M. said. “I’m glad I did.’”

But the sudden loss of hormones – not just estrogen, but also progesterone and testosterone – left her with vaginal dryness, loss of muscle mass, dry skin, diminished libido and a return of asthma. M., now a nurse who volunteers for Sharsheret’s peer network, noted that she wasn’t told during her medical appointments what to expect.

“The message was: ‘Don’t worry about it. We’ll give you a low-dose hormonal patch and everything will be fine,’” she recalled.

Menopausal symptoms aren’t severe for all women, and sometime they’re only temporary.

Farrah Zweig was 31 when she was diagnosed with hormone-positive, HER2-negative breast cancer. She had a lumpectomy, radiation and chemotherapy. She also took Lupron, a hormone suppression drug, which put her in menopause.

“My medical team did not discuss menopause with me,” said Zweig, now 42. “My only source of information was from people who had gone through it due to age, not as a result of a medical treatment like mine.”

She experienced the hot flashes and difficulty sleeping, which she expected, and also had a tough time losing weight she’d gained during chemo.

Leiter said physicians often don’t inform patients about treatments that might help their symptoms — even those that don’t involve hormones. She noted that antidepressants can reduce hot flashes and mitigate some of the irritability or emotional fluctuations. Meditation, cognitive behavioral therapy for insomnia, and laser treatments for vaginal dryness also can be effective.

“Knowing what you may feel and how you’re going to handle it, what medications are available, what support systems you’re going to have and maybe lining up your therapist or acupuncturist in advance makes all the difference,” Leiter said.

To speak with a social worker or someone at Sharsheret, visit www.sharsheret.org or call 866.474.2774.


The post Jewish women struggling with early menopause due to cancer treatment find new help appeared first on Jewish Telegraphic Agency.

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László Krasznahorkai, grim Hungarian author with hidden Jewish roots, wins literature Nobel

This year’s Nobel Prize for literature was awarded to a Hungarian writer whose work offers bleak visions of existence, and whose father hid his Jewish ancestry from him for much of his childhood.

László Krasznahorkai, the 71-year-old novelist and screenwriter, achieved international acclaim for formally daring books like “Satantango” and “The Melancholy of Resistance,” as well as a series of collaborations with the filmmaker Bela Tarr. He is often compared to master Russian novelists like Dostoyevsky and Gogol. 

The Swedish Nobel jury called him “a great epic writer in the Central European tradition that extends through Kafka to Thomas Bernhard, and is characterized by absurdism and grotesque excess.” Another prominent champion of Krasznahorkai’s: the Jewish culture critic Susan Sontag, who praised the infamous 7.5-hour film adaptation of “Satantango” and deemed him a “master of the apocalypse.” 

Krasznahorkai was born in 1954 in the small town of Gyula, near the Romanian border. As a child, he has said in interviews, he had no idea his father hailed from a Hungarian Jewish family. In 1931, as antisemitism was on the rise in Hungary but before the passage of formal anti-Jewish laws in the country, the author’s grandfather had changed their family name from Korin to the more native Hungarian-sounding Krasznahorkai. 

“Our original name was Korin, a Jewish name. With this name, he would never have survived,” Krasznahorkai told a Greek interviewer in 2018. “My grandfather was very wise.”

When the author turned 11, he learned about his Jewish heritage for the first time. “In the socialist era, it was forbidden to mention it,” Krasznahorkai has said about his Jewish ancestry. “Korin” would later serve as the name of the protagonist, a suicidal Hungarian archivist, in Krasznahorkai’s acclaimed 1999 novel “War and War.”

Many of the author’s books, written in challenging postmodern style, are concerned with the effects of political turmoil and national upheaval on everyday citizens, from provincial farm workers to intellectuals. Some of his novels, including “Hersch 07769” and “Baron Wenckheim’s Homecoming,” have plots that deal directly with neo-Nazis.

In that 2018 interview, the author, an outspoken opponent of Hungary’s authoritarian prime minister Viktor Orban, also addressed his relationship to Judaism in characteristically pessimistic fashion.

“I am half Jewish,” he said, “but if things carry on in Hungary as they seem likely to do, I’ll soon be entirely Jewish.”


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