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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.”
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Pro-Israel Lawyers Challenge UK University Academic’s Boycott of Israeli Scholar
The entrance to Hebrew University of Jerusalem’s Mount Scopus campus. Photo: Wikimedia Commons
An association of lawyers who support Israel is demanding the University of East Anglia (UEA), located in Norwich, England, investigate and take disciplinary action against a senior academic who refused to consider an application from a researcher because the latter was from an Israeli university, the group announced on Friday.
On Nov. 20, a professor of social science at UEA declined to consider a request by an Arab Israeli post-doctoral researcher at the Hebrew University of Jerusalem (HUJI) to schedule a research visit to the British university, according to UK Lawyers for Israel (UKLFI). The UEA professor said the decision was made “primarily as Palestinian colleagues have asked us not to work with Israeli universities at this time,” and noted that the move was “a personal position rather than that of my university.”
UKLFI chief executive Jonathan Turner told The Algemeiner that HUJI shared a copy of both the researcher’s email requesting the visit and the professor’s response with the association of lawyers, following consent from the researcher.
UKLFI wrote a letter to UEA Vice-Chancellor David Maguire about the incident on Wednesday, asking the school to investigate the professor’s conduct, take appropriate disciplinary action, and guarantee that the HUJI researcher’s application is “reconsidered fairly.” The association also called on the university to issue a statement prohibiting discriminatory academic boycotts; examine if similar boycotts are being practiced in the school; and introduce or update training for staff of the UK’s Equality Act 2010, which prohibits discrimination based on protected characteristics that include nationality. The decision targeting the Arab Israeli scholar is likely a breach of the Equality Act, according to UKLFI.
“A refusal to consider an applicant because of her Israeli affiliation directly undermines the principles of fairness, equality, and dignity that the University professes to uphold,” said the group of lawyers.
In its letter to the university, UKLFI also noted that UEA could face legal consequences for the decision and argued that “such boycotts are contrary to fundamental academic values, recognized by international instruments as well as UEA’s own policies.” The UEA has an Equality, Diversity and Inclusion Policy that was issued in August and adopted the International Holocaust Remembrance Alliance’s (IHRA) Working Definition of Antisemitism in January 2020.
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Slovenia to Pull Out of Eurovision Song Contest if Israel Participates; Spain Reaffirms Same Position
Yuval Raphael from Israel with the title “New Day Will Rise” on stage at the second semi-final of the 69th Eurovision Song Contest in the Arena St. Jakobshalle. Photo: Jens Büttner/dpa via Reuters Connect
Slovenia’s national broadcaster RTVSLO will compete in the 2026 Eurovision Song Contest only if Israel is excluded from the competition, it announced on Wednesday, a day before the president of Spain’s RTVE reiterated its boycott of next year’s Eurovision if Israel is involved.
The 2026 draft programming plan for Slovenia’s RTVSLO does not include its participation in the 2026 Eurovision or even the broadcast of the competition, set to take place in Vienna, Austria, in May.
“However, if next week, on Thursday, when the European Broadcasting Union (EBU) General Assembly is scheduled to vote on whether Israel will participate in the Eurovision Song Contest or not, it turns out that Israel will not participate in the Eurovision Song Contest, then we will propose to the council a change to the program-production plan and we will of course participate in this festival,” said Natalija Gorščak, president of the RTVSLO board.
Members of the EBU, which organizes the Eurovision Song Contest, are set to convene at the 95th EBU General Assembly in Geneva on Dec. 4 and 5 to discuss next year’s competition, the implementation of new rules for the contest, and Israel’s participation.
Slovenia’s explicit actions this week to boycott the 2026 Eurovision follows its previous threats to withdraw from the competition if Israel is included. They join other countries – such as the Netherlands, Ireland and Iceland – that have expressed opposition to Israel’s military actions in the Gaza Strip during its war against the Hamas terrorist group, which orchestrated the deadly massacre across southern Israel on Oct. 7, 2023.
On Thursday, José Pablo López, president of Spain’s RTVE, appeared before the Senate’s Joint Parliamentary Control Committee and defended the broadcaster’s initial decision in September not to compete in the 2026 Eurovision if Israel is allowed to participate.
“Eurovision is a contest. Human rights are not,” Lopez said, after claiming that a “genocide” has taken place in Gaza during the Israel-Hamas war. He then falsely accused Israel of breaking the rules of the Eurovision competition by attempting to politically exploit the contest and influence voting in the last two years, referring to performances by Eden Golan in 2024 and Yuval Raphael earlier this year. “Any other country that had carried out this use of the contest, I assure you that it would have been sanctioned and temporarily suspended,” he said.
López also challenged Eurovision Director Martin Green, who has previously defended Israel’s participation in the Eurovision.
“Martin Green recently wrote a letter stating that television networks and artists do not represent governments and that this is a cultural competition,” Lopez told the committee, according to a translation of his remarks by Eurovision Spain. “I wonder, is Mr. Green considering the return of Russian and Belarusian broadcasters to the festival? I hope not, because we all know that if those networks return, they would use it in a similar way to Israel, because for them, the contest is much more than just a competition and has a very significant political dimension.”
Lopez also addressed recent changes by the EBU to its rules for the Eurovision, in an effort to prevent rigged voting and governmental interference. Lopez believes the new rules are insufficient. “They do not guarantee that interference from a government like Israel’s, or any other government, cannot happen again,” he said.
“The EBU knows that these measures are a step forward, but they are not enough, and above all, as I have said, they leave Israel’s actions during this period unsanctioned,” he added. “More measures are necessary, and that will be the proposal we will take to the next General Assembly, which will be held on the 4th and 5th.”
Spanish Prime Minister Pedro Sanchez, a longtime critic of Israel, has also called for Israel to be excluded from the 2026 Eurovision.
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How Dealing with Difficult Challenges Leads to Spiritual Growth and Leadership
A Torah scroll. Photo: RabbiSacks.org.
They say that “the devil is in the details,” and nowhere has that been more evident than in the corruption scandal currently shaking Ukraine — even as the deadly war with Russia continues to rage.
Over the past couple of weeks, Ukrainian anti-corruption investigators have been drip-feeding the world with information: wiretaps, redacted court testimony, and sordid specifics of a large bribery saga. The cast of villains includes prominent businessmen and contractors pressured for hefty “commissions,” high-ranking ministers abruptly resigning, and one of President Zelensky’s former business partners fleeing the country just hours before the police raided his home.
The entire scheme exploited a wartime loophole — a rule under martial law preventing contractors from collecting debts in court from companies providing essential services. Energoatom fits that definition perfectly, as it supplies more than half of Ukraine’s electricity.
But more fascinating than the scandal itself is the sheer level of detail — the way this scheme evolved from small to big to overwhelming, unfolding slowly, piece by piece, person by person, until you finally step back and see the broad contours of the entire sprawling disaster.
And oddly enough, all of this brings me straight into the heart of Parshat Vayeitzei, which was my late father’s bar mitzvah parsha. He would always say — with an unmistakable twinkle in his eye — that Vayeitzei was “the most important parsha in the Torah.” We’d nod and smile, convinced he was just having a laugh.
I mean, yes — Vayeitzei certainly has its blockbuster moments: Jacob’s ladder stretching toward heaven, the extraordinary promises God makes to him, his first encounter with Rachel at the well — one of the great love stories in Jewish history — followed by his marriages and the birth of 11 children who would become the founders of the tribes that became the Jewish people. All of these events are unquestionably consequential, to say the least.
But then you hit the middle of the parsha — the part everyone secretly hopes the baal koreh will speed through. It’s long, it’s intricate, and it’s bewilderingly detailed: the astonishing saga of Jacob’s business dealings with Lavan.
Wage agreements — and disagreements. Livestock negotiations. Contract revisions. Endless sheep rearing. Sheep with spots, sheep without spots, sheep with speckles, stripes, dark patches — every possible permutation of sheep coloration you can imagine. It’s the Torah’s version of a regulatory audit: too many technical notes, too many procedural details, and far too much information.
Most of us, understandably, wonder what all this sheep drama is doing in a sacred text. Why did the Torah — normally so concise — zoom in on this business relationship from hell? Why give us this level of detail? And whatever the answer might be, surely this story doesn’t belong in “the most important parsha in the Torah.”
But my father always insisted that Vayeitzei’s business section wasn’t a pointless, transitional interruption in the narrative — it was the narrative. And perhaps, as the revelations from Kyiv remind us, the line between spiritual greatness and moral disaster is drawn not in grand theological enterprises like ladders reaching heavenward or celestial dream sequences, but in the slow, grinding, unglamorous world of day-to-day commerce: negotiations, promises, deals, and the quiet ethical temptations that shadow every decision we make.
If you think about it, this strange middle section of Vayeitzei is the Torah’s earliest and most elaborate case study in business ethics — or, more accurately, business un-ethics. Lavan is the Biblical version of a man who smiles broadly to your face while his hand is quietly stealing your wallet.
He is charming, generous-sounding, and utterly unscrupulous. He cheats at negotiations. He alters contracts retroactively. He weaponizes hospitality. He manipulates family loyalty. If there were a Biblical Consumer Protection Bureau, Lavan would be its full-time subject of interest.
And Jacob — the bookish, scholarly son of Isaac — finds himself thrown into a years-long masterclass with one of the greatest Machiavellian businessmen of the ancient Near East. The holy patriarch of the Jewish nation, the spiritual heir to Abraham and Isaac, sits across the table from a crook arguing over sheep markings.
But that’s precisely the point. Spirituality is easy when you live a monastic life of solitude and separation. Show me how spiritual you are when you need to negotiate with a scoundrel — that’s when your character is truly revealed.
Judaism doesn’t believe in the mystique of the cloister. Our greatest spiritual heroes aren’t monks; they’re shepherds, merchants, craftsmen, farmers — even warriors and kings. Jacob’s true greatness emerges in the trenches of real life, in the dense and morally dangerous world where money, power, opportunity, resentment, and desperation mingle with our aspirations to become the people God wants us to be.
What Vayeitzei shows, in deliberately excruciating detail, is that Jacob absolutely refuses to become Lavan. Yes, he negotiates, he strategizes, he outsmarts. But he does not become Lavan. He maintains his integrity.
And here’s the deeper insight — the one my father, with his mischievous grin, seemed instinctively to understand: the Jewish mission from the very outset was never to escape the world; it was to elevate it — from the inside out.
If Jacob had spent 20 years in a desert cave meditating on the divine, he might have produced beautiful insights — but there would have been no tribes, no family, no nation, and no legacy. Instead, Jacob becomes the spiritual father of Israel the nation even as he ran a household, raised children, and navigated a business partnership with a morally bankrupt relative.
And that is precisely why the Torah dwells on the sheep. Because the sheep are not a distraction — they are the arena. They are the battlefield where Jacob’s greatness is forged. They are the proof that holiness is not found in what we avoid, but in how we behave when we can’t avoid what we would much prefer to have nothing to do with.
And as it turns out, in the final analysis Jacob was not transformed by his dream of angels — he was transformed by his years in business with Lavan. What we learn from Jacob and the sheep is that building a family, maintaining integrity in business, and dealing with difficult people are not obstacles to spiritual growth; they are spiritual growth.
Which only goes to prove that my father’s twinkling assertion wasn’t a joke at all. He understood something the rest of us tend to overlook. Maybe Vayeitzei really is the most important parsha in the Torah — not despite the details, but because of them.
The author is a rabbi in Beverly Hills, California.