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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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Germany’s antisemitism czar says slogans like ‘From the river to the sea’ should be illegal

(JTA) — Germany’s antisemitism czar has urged a law to ban pro-Palestinian slogans such as “From the river to the sea,” renewing a fraught debate over the country’s historic allegiance to Israel and freedom of speech.

Felix Klein’s initiative would ban chants that could be interpreted as calling for Israel’s destruction. His proposal has the support of German Interior Minister Alexander Dobrindt and is now being reviewed by the Justice Ministry, he told Haaretz on Wednesday.

“Before Oct. 7, you could have said that ‘From the river to the sea’ doesn’t necessarily mean kicking Israelis off the land, and I could accept that,” said Klein. “But since then, Israel has really been facing existential threats, and unfortunately, it has become necessary here to limit freedom of speech in this regard.”

Klein, the first holder of an office titled “Federal Government Commissioner for Jewish Life in Germany and the Fight against Antisemitism” since 2018, added that he believed the law must be passed even if it is challenged in court for violating free speech.

Hamas’ Oct. 7, 2023, attacks and the subsequent and devastating Israel-Hamas war in Gaza tore at the seams of Germany’s national doctrines. The war triggered a sharp rise in antisemitic and Isalmophobic incidents across the country. It also exposed charged questions about when Germany prioritizes its responsibility toward the Jewish state, which became central to German national identity after the Holocaust, and when it upholds democratic principles.

The legal boundaries of pro-Palestinian speech are already far from clear-cut. Currently, courts decide whether a person chanted “From the river to the sea, Palestine will be free” in support of peacefully liberating Palestinians or in endorsement of terrorism. In August 2024, the German-Iranian activist Ava Moayeri was convicted of condoning a crime for leading the chant at a Berlin rally on Oct. 11, 2023.

Shortly after the Hamas attacks, local authorities across Germany imposed sweeping bans on pro-Palestinian protests. Berlin officials authorized schools to ban the keffiyeh, a symbol of Palestinian solidarity, along with slogans such as “Free Palestine.”

Jewish and Israeli activists were caught up in the crackdown. In October 2023, a woman was arrested after holding a poster that said, “As a Jew and Israeli: Stop the genocide in Gaza.” And police prohibited a demonstration by a group calling themselves “Jewish Berliners against Violence in the Middle East,” citing the risk of unrest and “inflammatory, antisemitic exclamations.”

Earlier this year, German immigration authorities ordered the deportation of three European nationals and one U.S. citizen over their alleged activity at pro-Palestinian demonstrations. Three of the orders cited Germany’s “Staatsräson,” or “reason of state,” a doctrine enshrining Germany’s defense of Israel as justification for its own existence after the Holocaust.

But that tenet is not used in legal settings, according to Alexander Gorski, who represents the demonstrators threatened with deportation. “Staatsräson is not a legal concept,” Gorski told the Jewish Telegraphic Agency in April. “It’s completely irrelevant. It’s not in the German Basic Law, it’s not in the constitution.”

Jewish leaders such as Charlotte Knobloch, a Holocaust survivor and president of the Jewish Community of Munich and Upper Bavaria, have argued that anger toward Israel created a “pretext” for antisemitism. “It is sufficient cause in itself to fuel the hatred,” Knobloch said to Deutsche Welle in September.

In recent months, two German establishments made the news for refusing entry to Jews and Israelis. A shop in Flensburg, which posted a sign saying “Jews are banned here,” is vulnerable to German anti-discrimination law. Not so for the restaurant in Fürth whose sign read, “We no longer accept Israelis in our establishment,” according to anti-discrimination commissioner Ferda Ataman, who said the law does not apply to discrimination on the basis of nationality.

Klein said he has also initiated legislation to expand that law to protect Israelis and other nationalities.

He has a longstanding relationship with Jewish communities in Germany, starting with his Foreign Office appointment as the special liaison to global Jewish organizations. In that role, he helped create a “working definition” of antisemitism for the International Holocaust Remembrance Alliance in 2016. That definition has sparked contentious debate, as critics argue it conflates some criticisms of Israel with antisemitism.

Klein believes that anti-Zionism does largely fall in the same bucket as antisemitism. “I think in most cases it is — it’s just a disguised form of antisemitism,” he told Haaretz. “When people say they’re anti-Israel, what they really mean is Jews.”

The post Germany’s antisemitism czar says slogans like ‘From the river to the sea’ should be illegal appeared first on The Forward.

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There’s something missing from John Fetterman’s memoir: Israel

There may be no senator who has committed more fervently to supporting Israel, at a greater personal cost, than Sen. John Fetterman.

In the weeks following the Oct. 7 attacks on Israel, the Pennsylvania Democrat began taping hostage posters to the wall outside his office and wearing a symbolic dogtag necklace. He embraced Israeli Prime Minister Benjamin Netanyahu, a pariah to many Democrats. As the civilian death toll in Gaza mounted, he posted constantly on social media to defend the war.

The position has cost him followers, friends, staff and perhaps in the future his seat. But it has also made him a hero in parts of the Jewish community. He received awards from Yeshiva University and the Zionist Organization of America and he was brought onstage as a panelist at the national Jewish Federations of North America convention.

Given the centrality of Israel to his focus in office — he was sworn in only 9 months before Oct. 7 — and how often he posts about it on social media, one might anticipate Fetterman giving it a lengthy treatment in his newly released memoir, Unfettered. The title of the memoir, too, seems to promise candor.

Instead, Fetterman dedicates all of three paragraphs to Israel in a book that largely rehashes lore from before his time in the Senate and discusses his struggles with mental health. These paragraphs — which even pro-Israel readers will read as boilerplate — appear in the book’s penultimate chapter, which is about his declining popularity since taking office.

Some have suggested that the reason some of the media and former staffers turned on me was because of my stance on Israel. Others imply that my support of Israel has to do with impaired mental health, which isn’t true. My support for Israel is not new. I was quoted in the 2022 primary as unequivocally stating that “I will always lean in on Israel.”

There’s a paragraph here about sticking to his morals even if it means defying his party, then:

There was no choice for me but to support Israel. I remembered the country’s history — how it was formed in 1948 in the wake of the murder of six million Jews. Since then, the rest of the Middle East, harboring resentments going back thousands of years, has only looked for ways to eradicate Israel. It took less than a day after the formation of the Jewish state was announced for Egypt to attack it. Every day in Israel is a struggle for existence, just as every day is an homage to the memory of the Jews shot and gassed and tortured.

It’s also clear that war in Gaza [sic] has been a humanitarian disaster. At the time of this writing, roughly sixty thousand people have been killed in Israel’s air and ground campaign, over half of them women, children, and the elderly. I grieve the tragedy, the death, and the misery.

Satisfied with this examination of the hypothesis for his growing unpopularity, Fetterman then moves on to another possible reason: his votes on immigration.

It’s strange to read the Israel passages in light of Fetterman’s full-throated advocacy on any number of issues related or connected to the Israel-Hamas war, including the hostages, campus protests, and rising antisemitism. Even if he did not reckon more deeply with his support for a war that brought about a “humanitarian disaster,” he might have talked about meeting the hostage families, or visiting Israel, or his disappointment that some voices within his party have turned against it.

The production of Unfettered was itself a story earlier this year, and may explain the book’s failure to grapple with a central priority.

Fetterman reportedly received a $1.2 million advance for it, roughly a third of which went to Friday Night Lights author Buzz Bissinger to ghostwrite it. But the two apparently had a falling out at some point, according to the sports blog Defector, which wrote in June that “in the process of having to work with Fetterman, Bissinger went from believing the Pennsylvania senator was a legitimate presidential candidate to believing he should no longer be in office at all.”

Bissinger is not credited anywhere in the book, and does not appear to have contributed. (He refused to discuss the book when a reporter called him earlier this year.)

But the mystifying section about Israel may have nothing to do with a ghostwriter or lack thereof. It may instead be explained by a letter his then-chief of staff wrote in May 2024, in which he said Fetterman “claims to be the most knowledgeable source on Israel and Gaza around but his sources are just what he reads in the news — he declines most briefings and never reads memos.”

The post There’s something missing from John Fetterman’s memoir: Israel appeared first on The Forward.

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How a Russian samovar connects me to the old country — and my black market dealing great-great-grandmother

For as long as I can remember, the golden samovar — a Russian teapot of sorts — has rested somewhere high in our home. In our first house, it sat imposingly on a shelf above the staircase. In our current home, it tops the boudoir in our guestroom. When I was growing up, I didn’t actually know what it was and, until a few years ago, I didn’t think to ask.

Spurred by some unknown impulse — possibly a quarter-life crisis or my mom and dad entering their 60s — I decided to interview my parents on the origin of every object and piece of furniture displayed in our home, gathering information that would otherwise die with them. Some of my questions yielded three-word answers (“It’s a lamp”); others evoked longer stories, like that of my black market-dealing great-great-grandmother.

Rivka Silberberg brought the samovar with her when she and her family — including my great-grandfather — immigrated to the United States from the Pale of Settlement sometime before World War I. According to my grandfather, while Rivka’s neighbors were fleeing religious persecution, she was evading authorities after a neighbor ratted her out for illegally selling items — some say tea, others tobacco — without the proper taxation. My mom thinks it was probably a combination of antisemitism and legal peril that motivated Rivka to leave.

Samovars were an important part of Russian social life in the late 19th and early 20th centuries. Jenna Weissman Joselit, a professor of Judaic studies and history at George Washington University and former Forward columnist, wrote, “The samovar loomed large in Jewish immigrant culture” and “a hefty proportion of Russian Jewish immigrants … lugged the heavy and bulky contraption to the New World.”

Although slightly tarnished, the samovar survived a journey from the Pale of Settlement to New York. Photo by

They acted both as a comforting, familiar sight and as something that could be pawned when money was tight, Joselit wrote. Clearly, my great-great-grandmother valued her samovar enough to drag it across the Atlantic.

Learning about the items in my house has given me a new appreciation for the objects that were always just a part of my background. Since the samovar is one of the only pieces of my family’s old world life we still have, it’s imbued with a certain sacredness. This samovar is not simply a vessel for brewing tea; It is a symbol of my ancestors’ forced migration, a testament to their ability to make the hard choices necessary for survival.

I am the only grandchild on my mother’s side. My grandfather was also an only child, meaning I am the only great-grandchild of his parents. I alone carry this history. Like the samovar, I am a physical testament to my family’s survival.

It’s a lot of weight to have on your shoulders — or on your shelf.

Being an only child is what made me feel such an urgent responsibility to capture my parents’ stories; if I didn’t save them, no one else would.

But objects are impermanent. They tarnish (as our samovar has). They shatter. They get lost.

As these sacred objects become more enchanted, we also become more vulnerable to their loss. Any damage to them would feel like a devastating blow.

Since my grandmother passed away in 2020, I have been the owner of her wedding band. I can count on my hands the number of times I’ve worn it, primarily on occasions when I want to feel like she’s near, whether on Rosh Hashanah or my college graduation. Otherwise, I keep it in my jewelry box where it can stay safe.

My mom takes a much more relaxed approach. One Passover, a friend set down one of our dessert plates with too much force, and it cracked. My mom, in an effort to reassure the friend, said probably the last thing one wants to hear after breaking someone else’s belongings: “It was my grandmother’s.”

After the friend panicked for a moment, my mom realized how the words had sounded.

“No, no, no,” she said. “I mean that it’s so old.”

Old things break. It’s part of their natural course of existence. For my mom, this was just an inevitable fact of life. Even without the dessert plate, she has memories of her grandmother to hold onto.

It’s taken me longer to accept the impermanence of objects. Only recently has the loss of a cheap earring not felt like the end of the world.

Luckily, because of its size and shape, the samovar would be a hard thing to misplace. In the future, if it needs to be moved, I’ll make sure I do so with care. But if for some reason something should happen to it, I am comforted to know that the story of Rivka and her smuggling ways lives on within me.

The post How a Russian samovar connects me to the old country — and my black market dealing great-great-grandmother appeared first on The Forward.

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