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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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How Billy Wilder and B&H Dairy birthed ‘The Only Living Pickpocket in New York’
Noah Segan’s crime thriller The Only Living Pickpocket in New York has drawn comparisons to NYC auteurs Spike Lee, Elaine May and John Cassavettes. While the writer-director is far from anxious about these influences, he notes another, less obvious touchpoint: a Billy Wilder comedy.
“There’s a line in The Apartment, where the very kindly Jewish neighbor doctor says to Jack Lemmon’s character, after he’s been through all of this meshugas with his apartment,” Segan, wearing a shirt that reads “I [Image of a heart-shaped pretzel] New York,” said in a Zoom interview.
The neighbor advises Lemmon’s befuddled, hyper-gentile character to “be a mensch.” In explaining what it means, he says, “just be a person.”
In Pickpocket, Harry Lehman (John Turturro), the titular gentleman thief, calls his neighbor across the hall a mensch for looking out for his wife. Her response: “I’m just being a person.”
While the film, about what happens when an old-school filcher accidentally lifts a high-tech MacGuffin, has its share of grit and cynicism for an increasingly impersonal, online world, its open-hearted menschlikeit shines through.
I spoke with Segan about the film, his sophomore feature after his 2022 Jewish vampire romp Blood Relatives, about Yiddish, B&H Dairy and whether Turturro is the GOAT of non-Jewish actors playing Jews. The following conversation has been edited for length and clarity.
How did you arrive at this idea of an ode or elegy to a Luddite New Yorker?
I looked in the mirror. (Laughs) I’m sort of a Luddite New Yorker — at heart. But a realist, I guess.
It started with a character. It started with Harry. You go, “OK, what is he going through? How is he functioning? What are his challenges?” And then you go, “Oh man, this guy is New York. And this can happen in New York. And I’m from New York.” You’re looking for patterns, you’re looking for the thing that works for you — but is it a chicken and the egg? Is it New York? Is it Harry? Are they the same thing? But once you get those two aspects, the rest of it can blossom naturally.
Your embodiment of New York is an old Jewish guy.
The embodiment of me is an old Jewish guy! (He fishes out a chai necklace from under his collar.) I got my little chai. Represent for the Forward.
In your previous film, Blood Relatives, you were a Jewish vampire. You said in an interview you were thinking about the fear of “otherness.” I’m wondering if there’s something in that choice of making Harry Jewish. Someone with community, but kind of on the margins. Obviously, in New York we don’t think of ourselves as being marginal, but maybe it’s indicating a change.
I think for the first film, part of the conversation was how to discuss otherness through both a realistic lens: that of a Jew, and through a cinematic lens, that of a vampire. The more you think about things like blood libel, the more you think about things like how Jews were murdered, all of that colors that dynamic. In Pickpocket, it’s a little bit different because Harry isn’t really an “other” he is one of. Not just because there are lots of Jews in New York, but there’s lots of everybody in New York!
I think that New York is often unified less based on religious and racial lines, much more so on socioeconomic lines, which of course is something this movie talks about.
Part of the texture there is Yiddish as a kind of lingua franca. We have Giancarlo Esposito and Lori Tan Chinn — older, non-Jewish characters. They all use it. I know we all say “schlep,” but I teach kids at City College, they don’t all know the word “mensch.” Is that a disappearing part of New York for you, in the same way Harry is recognizing his obsolescence?
To me, it’s not a disappearing part because I run into it all the time, and I think most New Yorkers know a little bit of Yiddish, just like most New Yorkers know a little bit of Spanish and that’s how you get by.
You’ve spoken of the Jewish-Italian handshake, a principle in casting that lets Robert DeNiro play Ace Rothstein and James Caan play Sonny Corleone. I have long maintained that John Turturro is probably the greatest living non-Jewish portrayer of Jews.
I think the idea with John is that he embodies New York to such a degree, that he truly does get to do any version of a New York character. This is a guy who just is New York, and so if you let him be a New York-coded character, it is what it is. It is whatever it needs to be. That man knows more about Philip Roth than anybody I’ve ever met, which makes me feel like that makes him definitely an honorary Jew.
Harry’s doorpost has a mezuzah and he goes to visit his daughter and there’s a wreath on the door. I was wondering about that bit of set dressing.
The mezuzah on the door — it’s like painted over. The idea that it had been there a long time was really important to me. That this is a matter of fact of one’s life. There is probably a question of how much Harry’s culture and religion influenced his daughter, who he left at a young age, and her choices to identify or not with that. Obviously, who knows who she married and how they practice. There are Jews who feel jolly and put a wreath on their door, so there’s no rule about that. But I do think that it is safe to say that there were historic, cultural, ethnic identifying aspects that Harry did not pass on. And that is part of the tragedy, of course, of leaving one’s family.
Did you shoot the film before the death of the MetroCard, and do you think Harry would have been able to figure out OMNY? I feel like the transition from tokens might have been difficult for him.
The transition from tokens was definitely difficult for him. We still had MetroCards when we shot the movie. I think it was a combo. But he doesn’t have a phone to tap! So what’s he gonna do? He’s gonna get an OMNY card and load it up? I mean, I guess that’s sort of like having a MetroCard.
The other day my phone died, so I just used my credit card. So you could do that in theory.
I don’t know if Harry has a credit card.
He deals in cash.
I think what he’s doing is he’s just waiting for somebody to open the emergency door for him. And then he passes them a couple bucks.
How do you think he would feel about Mamdani and the Knicks championship?
I don’t know if Harry votes. I think he likes to stay off the rolls. The more off-the-grid he could be, the better. But I do think that he would be very pleased about the Knicks. I don’t know if he’d be as pleased as John is. But I think he would be very pleased about the Knicks.
We feel that the days of Harry and his analog life are numbered, but there’s also a glimmer of hope when we see him mentoring a younger guy in the old ways of the five-finger discount.
All hope is never lost, especially in New York. New York is a hopeful place. Because it is sarcastic and cynical and has a sense of humor and it’s very fast. People think that that somehow makes it not an optimistic or hopeful place. But no. New Yorkers are the most resilient people on earth — that’s why the all the Jews move here!
Any there other Jewish tidbits that you’re not going to get a chance to to speak about with the general press?
You picked up on B&H right?
I don’t know if I did!
The first scene with Harry, he’s having his matzo brei at B&H.
Oh! I wasn’t thinking of B&H Dairy. I was thinking of B&H Photo.
There used to be a whole cottage industry of these places that that showed up at the turn of the century called B&H, and people go, “Well, why is it called B&H.” It’s Baruch Hashem. It wasn’t anybody’s name. It was just like, ‘Well, I guess thank God we opened up a store.’
(Author’s Note: Regrettably, in the case of the dairy establishment, this tidbit, while widely believed, appears to be apocryphal; the founders of B&H, who catered to Yiddish actors on Second Ave. were named Abie Bergson and Jack Heller and gave their initials to the enterprise.)
B&H is such a great example of New York because it is still kosher. It is still signed off on by a rabbi. The rabbi puts the stamp on it. Remains kosher. It is run by a Catholic Polish lady, her Muslim-Egyptian husband, and the head chef is Mexican. And if you buy the T-shirt, the T-shirt says “Challah por favor.”
It is a great New York, multi-ethnic, multicultural institution, and I’m very proud that we got to shoot there.
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A synagogue and Jewish-owned shops damaged in French riots
(JTA) — PARIS – Jewish-owned shops in Marseille were set ablaze and a synagogue in Paris was vandalized as part of widespread property damage caused by riots across France Saturday and Sunday, according to the Jewish Community Protection Service.
It is too early to assess the full extent of the riots protesting the rising cost of living and the damage they’ve caused, but various elements in the media have described them as civil unrest and chaos.
From Lille in the north to Marseille in the south and in the major cities in between, media estimate that nearly 800,000 people took to the streets and some 2,000 shops were vandalized or looted. Public buildings were set on fire, and hundreds of people or more were injured, including 150 police officers, with thousands arrested.
The riots followed a student uprising that blocked entrances to high schools across the country in recent weeks. Palestinian flags and keffiyas have been a recurring motif in most of the violent protests, acts of vandalism and looting.
But according to SPCJ, known as the Service de Protection de la Communaute Juive in French, there was no evidence that Jewish institutions or businesses were deliberately targeted.
Vandals broke into the Ohalei Yaakov synagogue in Paris’ 19th district overnight between Saturday and Sunday. On Sunday morning, members of the Jewish community discovered that their temporary place of worship had been broken into. The permanent synagogue building is currently undergoing renovations.
Inside the sanctuary, prayer books, tefillin, and various objects — taken from boxes and cupboards — were found scattered on the floor. The rabbi’s office was also searched. Despite the mess, the Torah scrolls appeared to be unharmed.
According to a member of the synagogue committee, the incident primarily points to an attempted theft. The suspects may have been looking for money, but nothing was believed to be missing.
This article originally appeared on JTA.org.
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How much will Trump’s endorsement help Netanyahu?
(JTA) — JERUSALEM – Within minutes of President Donald Trump endorsing Prime Minister Benjamin Netanyahu in a post on Truth Social Sunday, Netanyahu’s campaign team had released a 30-second clip showing all the times Trump has lavished praise on the Israeli leader over the past few years.
With polls showing that Netanyahu and his governing coalition are slipping in their struggle to retain power in the upcoming Oct. 27 election and lag behind the opposition bloc, an endorsement from the president of the United States is a powerful statement.
But is it enough to tip the scales?
“I don’t think it will change anything,” said Ilana Shpaizman, a senior lecturer in the Department of Political Studies at Bar-Ilan University.
Of course, she said, “Netanyahu will say this is the proof that I’m a leader and all that, and I can speak to Trump … But so what? His followers already know that and they believe in him. They don’t need the endorsement.”
Those who oppose him, Shpaizman continued, “know that Trump forced him (Netanyahu) to accept the ceasefire in Gaza and accept the hostage deal, and that Trump runs the show around Iran. So they also don’t need the endorsement either,” Shpaizman said.
Some pundits speaking on Israeli news outlets criticized Trump for “interfering” in Israel’s election, while others put it down to the fact that Trump does not want America to return to fighting Iran alone if Netanyahu, who is hawkish on Iran, is replaced by someone less willing to act militarily. If Netanyahu loses, that is a scenario that could play out.
“This is the first time ever that the president, at least publicly, endorses a candidate in Israel’s election,” Bushinsky, a political commentator and former adviser to Netanyahu, told the Jewish Telegraphic Agency.
Bushinsky said he remembered Netanyahu complaining about U.S. intervention in previous elections in 1999 and 2001, when presidents less enamored of him were in office. He even pushed for an initiative that would block foreign funding for election campaigns.
Now, Bushinsky said, “I guess he is not complaining,” adding that the endorsement serves Netanyahu in two ways.
First, it signals that Trump thinks that Netanyahu is the most suitable guy for the job. Second, it puts Netanyahu’s election campaign back on track, refocusing attention on an issue where Netanyahu is strong – Iran.
“It lets him say ‘I can now finish a job, and I can finish a job with Trump,’ and ‘without Trump or without me, the job will not be finished,’” said Bushinsky.
He said that in the last few days, the political debate had pivoted to other issues such as Ashkenazim vs Sephardim, the draft law and the contentious efforts by the outgoing government to overhaul the judiciary.
“This [endorsement] is the ultimate campaign boost for Netanyahu,” Bushinsky said.
But that boost might not be enough.
Most of the polls taken in recent days show the opposition bloc led by former IDF chief Gadi Eisenkot pulling ahead of Netanyahu’s ruling coalition, but give neither bloc enough seats to gain the necessary 61 of 120 seats in Israel’s parliament, the Knesset, to form the next government.
“I think this might give Netanyahu one more seat, one more mandate, but not more than that,” said Bushinsky.
Prof. Tamar Hermann, director of the Israel Democracy Institute’s Viterbi Center for Public Opinion and Policy Research, said that the timing of Trump’s support for Netanyahu in this election race had come both “too late and too early.”
“It’s too late because people have already decided electoral preferences. They may shift within each bloc, but will not move between the blocs because of this,” she said. “And it’s too early because there are nine days to go to the elections, and we can already see other American leaders spilling some cold water over what he said, even on the Republican side of the aisle.”
This criticism, Hermann continued, will be transmitted to Israeli voters, and they will see that Trump is facing a huge battle in the upcoming midterm elections.
“The image of President Trump has deteriorated significantly since April 26, when he started the negotiations with Iran,” she said, pointing to one of the IDI’s recent public opinion surveys that found the president’s popularity had plummeted after he stopped the war with Iran without totally removing the threats against the State of Israel.
According to that poll, the Israeli public’s confidence in Trump as someone dedicated to Israel’s security fell from around 70% to just 42%.
“In my view, the endorsement will not make a big change,” Hermann added. “It will just strengthen Netanyahu’s political supporters, who will see it as a sign that he is still the internationally known figure that even the president of the United States is endorsing.”
She concluded, “The meaning of endorsement in Israel is totally different than in the United States … we are not that used to this kind of move, and it will not make people change their minds.”
This article originally appeared on JTA.org.
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