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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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Why are all the cool girls wearing yarmulkes?
If you have a passion for fashion, enjoy exotic headgear, or, if you, like me, just happen to go outside once in a while, then there is a good chance that you, too, have crossed paths with the “crochet skullcap.” Cobweb-thin and dainty, they come in as many colors as Joseph’s coat and just as many stitch patterns. Some have little stars or pom-poms on the fringe. Some even have brims, like a lampshade but for your head.
I had never seen one of these creations until a few months ago. For reasons I cannot disclose, I was walking down Carnaby Street, a famous shopping mecca in London’s SoHo neighborhood, squinting down at Google Maps when some spirit — maybe God — compelled me to look up. Before me in the afternoon glare stood a glimmering seraph. She was tall and gleaming, sliding languidly down the street like a cheetah on a runway. And on her head she wore … a yarmulke?! I blinked and shook myself. When I looked again, she was gone.
But her image had burned itself into my memory like acid on copper. Specifically that yarmulke of hers. It was like a lilac doily, but with more structural integrity. It was also bigger than the average yarmulke. Whereas your standard yarmulke is around bald-spot-sized, this woman’s yarmulke was big enough to engulf her whole cranium.
Back in America, preliminary Googling revealed that part of the reason the woman’s yarmulke was so big and purple was that it was not a yarmulke at all, but a “crochet skullcap.” A Vogue article addressed the very question that was plaguing me: “Why Is Everyone Wearing a Tiny Crochet Skullcap?” Everyone, that is, who attended Copenhagen Spring Fashion Week 2026, where apparently everybody “got the memo to wear a tiny crochet skullcap.” Had they all unexpectedly converted to Judaism?
The article offered alternative theories: Perhaps the artisanal, handmade connotations of crochet (even when mass-produced) appealed to Danish dames; perhaps these head coverings were a symptom of nostalgia for the ’60s and ’70s, when crochet skullcaps were so popular among the freewheeling hippies that the original 2007 release of Julie Albright, the American Girl Doll emblematic of ’70s San Francisco, came with a tiny lilac skullcap of her own.
On the other hand, maybe the crochet skullcap’s ascendance was proof that the cultural pendulum was swinging conservative. I was deep into the article when I found what I had been looking for: my smoking gun, nestled between two parentheses. The crochet skullcap, one fashion expert noted, “is similar to religious head coverings, like the kufi and yarmulke.”
“HA!” I yelled. If there had been any birds in my kitchen, they would have scattered. So I wasn’t insane after all!
Further research revealed that these tiny crochet circlets contained great contradictions. How was it possible that hippy-dippy flower children had pulled up at Woodstock wearing more or less the same hat that other guys wore while praying three to five times a day? Among the religious demographic, the yarmulke and kufi symbolized modesty and humility before God. Among fashion-forward extremists, the crocheted skullcap — some of which sell online for more than $300 — symbolized chicness, even status. Such a paradox required the help of an expert. So I wrote to Janet Linville, the head milliner at the Metropolitan Opera and senior millinery instructor at the Fashion Institute of Technology (FIT) with my question: What did this hat mean?
Unsurprisingly, there were many meanings. “This sort of head covering goes a long way back in history,” she wrote. “Similar caps were worn at night to ‘keep the spirits in (or out), to cover tempting hair, to show marital status, and for religious deference reasons.” On the off-chance the Copenhagen Fashion Week crowd wasn’t trying to keep spirits out or cover their tempting hair, Linville offered another theory: Perhaps it was just that “handmade crafted looks, such as embroidery and knitting have been more popular recently.” In other words, maybe people were just wearing something because it looked cool, not because they were tapping into a millennia-long monotheistic tradition. “I suppose there’s an argument to be made that we are living in more conservative times,” she wrote, “but crocheted skull caps were also popular in the permissive ’60s and ’70s.”
The crochet skull cap falls in step with a broader trend of cool-ifying symbols of tradition and even conservatism, such as the corset, the crucifix, the “prairie dress,” and the “milkmaid dress.” (Evie Magazine’s “Raw Milk Maid Dress” sparked furor in the tradwife community over what was viewed as an unpasteurized level of sexiness.) El País reports that from 2024 to 2025, online searches for knee-length skirts rose by 33%, equestrian boots by 39%, and gingham checks, a pattern some consider evocative of 1950s domesticity, by 33%.
But it is hard to know what people are thinking when they follow trends. Perhaps it is to promote one idea, or to subvert another. Perhaps it is because other people are doing it. Perhaps it is for no reason at all. For my part, I’m thinking of getting in on this trend while it’s hot. There’s a soccer-ball-themed yarmulke from my cousin’s bar mitzvah lying around the house somewhere. All I need to do now is punch a few holes.
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Mamdani concedes he can’t arrest Netanyahu but urges U.S. to enforce International Criminal Court warrant
New York City Mayor Zohran Mamdani announced Tuesday night that a legal review he ordered found he does not have the authority to arrest Israeli Prime Minister Benjamin Netanyahu when he visits the city, putting to rest a question that has repeatedly surfaced since he first vowed to take custody in light of an International Criminal Court order for Netanyahu’s arrest.
In the two-minute address posted on his official social media accounts, Mamdani opened by declaring “Benjamin Netanyahu is a war criminal, the architect of a horrific genocide against the Palestinian people” but acknowledged the legal limits that prevent him from following through on his pledge, which had become a rallying cry for his pro-Palestinian supporters. (The use of the term “genocide” to describe the Gazan death toll in the Israel-Hamas war remains contested.)
“My administration has reviewed every avenue available under applicable law to determine whether New York City could execute the International Criminal Court’s arrest warrant if Benjamin Netanyahu came here,” Mamdani said. “It is clear that we do not have the independent legal authority to enforce this one.”
Benjamin Netanyahu is a war criminal. pic.twitter.com/YRezmW6YVx
— Mayor Zohran Kwame Mamdani (@NYCMayor) July 22, 2026
The United States does not recognize the court’s authority over American citizens or foreign nationals on U.S. soil, and local authorities have no power to execute such a warrant. U.S. law gives the federal government control over foreign policy, and heads of state traveling to the United Nations are protected by diplomatic immunity.
The announcement ended days of speculation and fierce backlash over one of his most controversial campaign promises after comments he made when asked about his arrest vow in an interview with The New York Times reignited the issue. “If someone is charged with a warrant from the International Criminal Court for these types of crimes, that’s something I believe should be honored,” Mamdani told reporters on Monday.
Mamdani, who rose to power aligned with pro-Palestinian activism, has been unapologetic about his anti-Zionist views. He came under fire during the mayoral race last year for defending the slogan “globalize the intifada,” used by some at the pro-Palestinian protests and perceived by many as a call for violence against Jews, and repeatedly said he’d arrest the Israeli leader over the conduct of the war in Gaza.
Netanyahu’s representatives in the U.S. responded angrily to Mamdani’s move, calling him “an antisemite” and accusing him of attacking Israel to cover up for political failure.
On Tuesday night, Danny Danon, Israel’s ambassador to the United Nations, responded on social media: “Zohran Mamdani, ENOUGH. Enough with the blood libels. Enough with the attacks on Jewish organizations. Enough with the outreach to the Iranian regime. You were elected to serve New Yorkers, not Hamas’ propaganda. Do your job!”
Tuesday’s video mirrored the Nakba Day video produced by his City Hall media team commemorating the displacement of Palestinians during Israel’s founding in 1948, which drew sharp criticism from Jewish and Zionist organizations. But it also highlighted the tension that has defined Mamdani’s first six months in office: balancing the activist politics that propelled him to City Hall with the legal limits and governing responsibilities of leading the city with the largest Jewish population outside Israel.
In his address, Mamdani said that while the city had exhausted its legal options, the federal government had not. He urged the Trump administration to join the International Criminal Court and enforce its arrest warrant for Netanyahu. President Donald Trump, writing on Truth Social on Monday, reassured Netanyahu that he “will not be arrested, in any way, shape, or form, while in the United States of America.”
Mamdani concluded that Netanyahu “is not welcome in New York City” and said New York leaders can choose not to remain silent to defend Palestinian human rights. “That is my commitment to you,” he said.
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Democratic socialist rails against AIPAC in uphill primary bid against pro-Israel incumbent in Arizona
(JTA) — Kai Newkirk, an activist and democratic socialist, has made Israel and AIPAC a focal point in his effort to unseat pro-Israel Rep. Greg Stanton in Tuesday’s Arizona Democratic primary.
“I’ve been arrested over 25 times in civil disobedience — and I’ll go to jail for justice again before I ever take a dime from AIPAC,” Newkirk wrote on X last week, referring to the American Israel Public Affairs Committee.
Newkirk, 45, whose organizing has largely focused on campaign finance reform, has repeatedly blasted Stanton’s support from the pro-Israel lobbying group. He has also accused the Israeli government itself of “trying to interfere in our elections,” including in Arizona’s 4th Congressional District where he is running and which covers parts of Phoenix and Maricopa County.
He pointed to a $45 million text message campaign to improve Israel’s image in the U.S. as a sign of such interference, and posited that “they may be targeting areas where AIPAC is more invested or where these issues are more at stake.”
The primary comes as a number of left-wing congressional candidates with sharply critical Israel stances have won the Democratic nomination around the country, and as Israel and AIPAC grow increasingly unpopular among Democratic voters.
The most recent poll on the Arizona race, commissioned by a group that favors Newkirk, had Stanton up by 8 percentage points, while another poll, conducted two weeks earlier by a group favoring Stanton, showed the incumbent ahead by 33 points.
Newkirk’s platform includes ending all military aid to Israel and imposing an arms embargo on the country, which he accuses of genocide.
Stanton, 56, a four-term incumbent, voted against Kentucky Rep. Thomas Massie’s amendment to cut military aid to Israel last week. Newkirk criticized Stanton, saying that he would have voted for the amendment, and suggested that Stanton’s vote was the result of his support from AIPAC.
“Greg Stanton has taken over $300K from AIPAC,” Newkirk wrote. “And today — as so many Americans in our district and across the country struggle to get by — he just voted to send billions more of our tax dollars to Israel to fund their war crimes and genocide. Disgraceful.”
Among AIPAC’s endorsees in Congress, more than a dozen voted to cut aid to Israel last week; AIPAC has since removed the option on its website to donate to those candidates.
Stanton explained his vote on X, saying that the amendment “would undermine America’s ability to counter real threats from Iran” and weaken the ability to promote long-term stability across the region. He also criticized Israeli Prime Minister Benjamin Netanyahu and wrote that “clear change is necessary” as the U.S.-Israel security agreement, which includes $3.8 billion in annual military subsidies for Israel, nears its expiration in 2028.
Newkirk is endorsed by progressive groups such as Our Revolution, Track AIPAC and the Progressive Democrats of America.
Also among Newkirk’s endorsers is Cenk Uygur, the host of the Young Turks who has spread conspiracy theories about Israel. “Kai is Israel Free and has fought to get money out of politics his whole life,” wrote Uygur last month.
Newkirk has faced turbulence in establishing broader support.
The Young Democrats of Arizona pulled its endorsement of Newkirk earlier in July, writing that it had been “made aware of some concerning patterns of behavior” displayed by Newkirk, without specifying what it meant.
Newkirk did not respond to the Jewish Telegraphic Agency’s request for comment. After the Young Democrats of Arizona retracted its endorsement, Newkirk wrote that the withdrawal of the endorsement was based on a false report amid “a wave of wins by democratic socialists” and called it a “weaponization of … disavowed misinformation.”
Newkirk did speak out against last year’s killing of two Israeli Embassy staffers outside the Capital Jewish Museum in Washington, D.C. “I stand always with my beloved Jewish siblings against the scourge of antisemitism just as I will never stop in the nonviolent struggle to end the genocide in Gaza, release all hostages, and open the way to just, lasting peace,” he said.
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