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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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Ari Emanuel has written a memoir and no one is safe — not even his brother
Roll the Calls: A Memoir
By Ari Emanuel
Knopf, 432 pages, $35
It must be exhausting to be super-agent Ari Emanuel: rising before dawn for a workout regimen, ingesting live worms to consume bacteria, and then placing hundreds of daily phone calls to clients and network honchos. It is, frankly, exhausting just to read about it, notwithstanding the clever, staccato narrative by (uncredited) ghostwriter J.R. Moehringer.
The point of it all, Emanuel keeps insisting in Roll the Calls, is not the dollars.
“Money isn’t the thing that makes me get up at 4:00 a.m.,” he says. “I’m just not sure yet what that thing is.”
Perpetually on the precipice of bankruptcy, he takes bold entrepreneurial risks to survive in an industry wracked by labor discontent, cutthroat infighting and technological change.
The goal, if there is one, seems to be simply to win — to bend everyone around him to his will. And, for the most part, he does. From the mailroom, Emanuel has ascended to the summit: executive chair and CEO of TKO and executive chairman of WME Group, “two companies,” his biographical blurb says, “that sit at the center of sports, entertainment and culture.”
Emanuel is probably best known as the model for the abrasive Ari Gold, the talent agent played by Jeremy Piven in the HBO show Entourage (2004-11). The show’s protagonist, Vincent Chase, is loosely based on one of Emanuel’s clients, the actor Mark Wahlberg. Emanuel says that he could never bear to watch the series, but notes that it helped turbocharge his career.
In his telling, the entertainment-industrial complex is a transactional, amoral, brutish and (though Emanuel doesn’t use this phrase) testosterone-fueled world, where the key players are nearly all men. It seems impossible to imagine any woman getting away with — let alone prospering from — the unhinged, profanity-laced approach that has become Emanuel’s trademark.
Even in this milieu, there are, in his view, particularly loathsome players. Among them is Harvey “Scissorhands” Weinstein, whom Emanuel indicts for his slovenliness, bullying tactics and editorial interference. Even without a mention of the producer’s alleged track record of sexual harassment and assault, Emanuel’s assessment of Weinstein is withering. “Empty at his core,” Emanuel writes, “Harvey’s sole motivation is to thwart and mess with other people.”
Emanuel expresses contempt, too, for other bold-faced names, including Jeffrey Katzenberg, former chair of Walt Disney Studios and cofounder of the film studio DreamWorks, and Hollywood scribe Nikki Finke, with whom Emanuel had a codependent relationship. He takes on Donald Trump as a client, doesn’t vote for him for president, and drops him, without regret, when he wins and can no longer generate commissions. None of this necessarily makes Emanuel a reliable narrator.
The memoir begins with the word “rage,” which Emanuel observes is also the first word of Homer’s Iliad. The allusion sets Roll the Calls up to be similarly epic. But its angry protagonist is, at best, an antihero, and the stakes of his success surely are less than mythic.

What are the origins of Emanuel’s rage? He points to his lifelong struggles with dyslexia and the bullying and humiliation that resulted. The Emanuel family ethos was unsparingly competitive. In life, he learned, “loser gets fed to lions,” so “keep your fists clenched and your head on a swivel.” And roughhousing with his older brothers, whom he jokingly calls “two violent psychopaths,” may have left Ari bruised and resentful.
Both Ezekiel “Zeke” Emanuel, a prominent oncologist and bioethicist, and former Chicago mayor and prospective 2028 Democratic presidential candidate Rahm Emanuel are known for their combative personalities. Ari suggests that the family is tight-knit and loving. But one of the book’s quietly shocking reveals is Rahm’s mockery of his brother’s dyslexia when they share a stage during Chicago Ideas Week.
Emanuel argues that his anger, which can turn threatening, provides a bargaining advantage by intimidating adversaries. He cites a study showing “that angry negotiators had the edge.” In a bar, he calls out Michael Moore as an [expletive deleted] antisemite for views the director expressed about Israel; Moore denies the charge, they keep talking and Emanuel ends up with a new client.
“You’ve got to be a little psychotic in this town,” Emanuel argues. To succeed, “you need to show that you can color outside the lines, and that, once in a while, you might eat the [expletive deleted] crayon.” The memoir doesn’t delete the expletives.
Yet Emanuel understands the personal costs of his anger enough to have devoted years to psychotherapy aimed at moderating it. (The results seem mixed at best.) Emanuel also admits to a habit akin to stalking: calling potential clients, business partners and others constantly until they succumb to his sales pitch.
This incessant hounding landed him the mailroom gig at Creative Artists Agency, from which he quickly rose — until he departed, with allies, to start his own company. Similar persistence won him the business (and, later, friendship) of the famously curmudgeonly Larry David, who said, over lunch, that he would sign with Emanuel — if only the agent would stop calling.
After his first marriage (unsurprisingly) dissolved, Emanuel deployed his telephone tactics in courtship — not a method, one imagines, that would have worked for a lesser man. In Emanuel’s case, relentless pursuit led, after some drama and heartbreak, to his second marriage, to a much younger woman who had initially resisted his overtures.
None of this is to say that Roll the Calls isn’t worth a read, especially for anyone interested in an unabashedly jaundiced insider account of how Hollywood operates. The book is quick-paced, laugh-out-loud funny at times, and filled with acidic observations and gossip. It is also horrifying.
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NY Jewish Democrats defend Mamdani after Netanyahu calls him a Hamas supporter
(JTA) — Some top New York Jewish Democrats are defending New York City Mayor Zohran Mamdani after Israeli Prime Minister Benjamin Netanyahu called him an “antisemite” and said he is “buddies” with Hamas.
Netanyahu’s speech at the United Nations General Assembly on Thursday, and the outsized role Mamdani played in it, were the culmination of escalating criticism of Mamdani from Israeli officials in recent weeks.
Mamdani is an avowed anti-Zionist who during his campaign to be the mayor had pledged to arrest Netanyahu. Over the summer, he conceded he didn’t have the power to do so, though he criticized the Israeli government over Gaza in the run-up to the prime minister’s visit.
But while his full-throated criticism of Israel has alarmed some local Jewish officials, many felt that Netanyahu’s attacks on Thursday from the U.N. plenum went too far.
“It’s scurrilous to suggest that the mayor voices support for Hamas,” Manhattan Borough President Brad Hoylman-Sigal, who is Jewish, said Friday in an interview with the Jewish Telegraphic Agency.
City Council Speaker Julie Menin, also a Jewish Democrat, has opposed Mamdani on some legislation related to protests outside houses of worship — a sensitive issue in the wake of protesters picketing outside synagogues that were holding Israeli real estate events. Menin said in a press conference on Thursday that Netanyahu’s remarks were “not helpful at all” because “we need to turn the temperature down.”
“This idea of what the prime minister said can really incite violence. We cannot have this,” Menin said.
Mamdani, an outspoken pro-Palestinian advocate, has condemned Hamas as “a terrorist organization” and has denounced antisemitic hate crimes committed in New York.
The mayor responded with a statement of his own, saying that Netanyahu “used his speech to repeat baseless lies meant to sanitize his genocide of Palestinians.”
“Yet no lie can change the fact that he remains the subject of an International Criminal Court arrest warrant alleging war crimes and crimes against humanity,” Mamdani said. The United States is not a party to the ICC and has no obligation to carry out its warrants on U.S. soil.
Netanyahu’s remarks at the U.N. General Assembly came amid a reelection campaign in which Netanyahu’s Likud Party has made Mamdani a villain. Hoylman-Sigal called Thursday’s speech a “political ploy” and a “deflection by someone who has a lot of domestic turmoil, political and otherwise.”
“Clearly, Netanyahu is fighting for his political life,” said Hoylman-Sigal, who is Jewish.
Netanyahu’s arrival in New York sparked a wave of demonstrations in Manhattan on Thursday, including multiple organized by Israeli expatriate groups who emphasized the Oct. 27 Israeli election date. Rallygoers chanted “Vote him out!” at a protest held by the Israeli anti-Netanyahu group UnXeptable.
Even before his visit, Gov. Kathy Hochul pushed back on comments Netanyahu had made. Calling Mamdani a “supporter of the Hamas monsters” was false and “hurt his own credibility,” Hochul said in an interview with the radio station WNYC earlier this week.
Morton Klein, president of the Zionist Organization of America, which is supportive of Netanyahu and has been harshly critical of Mamdani, called Netanyahu’s remarks “Churchillian” and his “greatest speech.”
“Importantly, he also called out Mamdani as a dangerous antisemite who has endangered Jews in New York City,” Klein said in a statement.
The U.N. speech came as Israeli officials have escalated their rhetoric against Mamdani.
Last month, Ofir Akunis, the Israeli consul general in New York, compared Mamdani’s support for the boycott Israel movement to Nazi Germany. A Mamdani spokesperson told JTA the comparison was “offensive, completely unhinged and detached from reality,” and said Akunis “should be ashamed of himself.”
The statement was Mamdani’s first time weighing in on the Israeli consul general, who had accused Mamdani of being directly responsible for anti-Jewish hate crimes in the city.
Republican City Council member Inna Vernikov, who is Jewish and a staunch Mamdani critic, took issue with the mayor’s response.
“When Mamdani cleans his own house, then he can criticize Jewish leaders,” said Vernikov, pointing to Mamdani’s wife’s anti-Israel views and his vetoing of a bill on protests around schools.
Brad Lander, the Jewish progressive and Democratic nominee for New York’s 10th congressional district, blasted both Akunis’ and Netanyahu’s attacks on Mamdani.
“Netanyahu and Akunis are cynically weaponizing accusations of antisemitism for their own narrow, selfish political purposes,” said Lander, one of Mamdani’s most prominent Jewish allies, in a statement to JTA. “They are making Israelis, American Jews, Palestinians, and the whole world less safe.”
Lander himself was the recipient of a Nazi Germany comparison when Bruce Blakeman, the Republican candidate for New York governor, said that Lander “would be a camp guard in the concentration camp if he could.”
Hoylman-Sigal called the comparisons “outrageous,” and said that he is more worried about a rise in far-right parties, including Germany’s AfD.
“We should be very careful, no matter what our background is, to draw such extreme comparisons,” he said.
Phylisa Wisdom, who heads Mamdani’s office to combat antisemitism, told JTA that it is “appalling that some leaders have resorted to comparing their political opponents to Nazis.”
“We can and should disagree — sometimes deeply — but we must be able to do so without debasing public discourse,” she said.
Amy Spitalnick, the CEO of the Jewish Council for Public Affairs, a group that leads outreach to non-Jewish community organizations, told JTA in an email that comparisons to Nazis should be out of bounds.
It is “particularly concerning given that our own community frequently, and rightfully, calls out those using dehumanization and/or making inappropriate Holocaust comparisons,” she said.
As a case in point, Spitalnick pointed to the Anti-Defamation League’s article on inappropriate Holocaust comparisons, which includes COVID-19 vaccine requirements and free speech complaints.
The ADL did not return a request for comment on Akunis’ Nazi Germany comparisons.
“Disagree with the Mayor on his policies or rhetoric — I certainly have — but comparisons like this are deeply offensive and wrong, in addition to undermining the very relationships and engagement necessary to ensuring Jewish safety in New York and beyond,” Spitalnick said.
This article originally appeared on JTA.org.
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‘Nobody Wants This’ star Adam Brody on Gaza: ‘Put me down as thinking it’s a genocide’
Adam Brody, the Jewish actor who plays a “hot rabbi” on the hit Netflix rom-com Nobody Wants This, called the war in Gaza a genocide in a new interview, making him one of just a few Jewish celebrities to speak out publicly against the Israeli campaign.
The comments came in an interview with GQ about Brody’s efforts canvassing for Democratic candidates in the upcoming midterms.
“Put me down as thinking it’s a genocide. Put me down as wanting a free Palestine,” he said. “It’s awful that it’s taken so much death and misery, but it does feel like it’s reaching a breaking point that it should have a while ago. I’m hopeful that another administration can really do some good and correct some of these policies that are helping that situation be as awful as it is.”
The claim of genocide in Gaza is heavily disputed. Several international bodies, human rights organizations and academic institutions have concluded Israel’s actions in Gaza since Oct. 7 fit the description, including a United Nations Commission of Inquiry. Other similar groups, like the International Court of Justice, have not applied the term.
Brody’s comments were surprising in part because he had previously kept his feelings about the war private, even as other leading Hollywood figures openly criticized it. He does not maintain a public social media presence, and he did not participate in pin-wearing campaigns or sign various petitions related to the war — an approach he indicated he might change going forward.
“I’m not wearing a pin, so I’m not inviting a certain question, and perhaps I should,” he said. “I really admire people who do. But 99% of what I’m asked about is about the show. I’m not trying to plead ignorance—here we are doing a political interview, so it makes sense that we wade into this territory—but I’ve never ducked a question, really, not a political question anyway.”
Brody — who came to fame in the 2000s as the teenager Seth Cohen on The O.C. — joins Hacks star Hannah Einbinder and Wallace Shawn (The Princess Bride) as perhaps the most high-profile Jewish actors to publicly call the war a genocide. Other Jewish entertainment figures, like Mandy Patinkin and The Zone of Interest director Jonathan Glazer, have criticized the war but stopped short of calling it a genocide.
Yet Brody’s comments are perhaps especially notable because of the character he plays on TV. In Nobody Wants This, Brody plays a rabbi dating a non-Jewish woman — introducing her to the beauty and foibles of Jewish faith and culture. Israel has been conspicuously absent from the show, with its creator, Erin Foster, saying she deliberately avoided geopolitics.
Season 3 of Nobody Wants This releases to Netflix October 22.
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