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A new musical spotlights the Nazi persecution of LGBTQ+ people
(New York Jewish Week) — Some 50,000 gay men and women were imprisoned by Nazis during the Holocaust. Of them, approximately 10,000 to 15,000 were held in concentration camps, and nearly all of those who were sent to the camps died there.
And yet, many stories of LGBTQ+ people who died in Nazi prisons are left untold. The numbers, while huge, shrink in comparison to the millions of Jewish people who died and were tortured at the hands of the Nazis.
This dynamic is why writer, director and actor Alan Palmer first learned about Nazi persecution of homosexuals completely by chance. In August 2016, Palmer — who is best known for his off-Broadway show “Fabulous Divas of Broadway” and his role on the “Mighty Morphin Power Rangers” — was performing at Edinburgh Fringe Festival when he stumbled upon an article about the specific targeting of gay men and women under Hitler. He found himself falling into a world of ever-deepening research, consumed by the idea that there were so many lost stories of LGBTQ+ people who died in concentration camps.
Inspired, Palmer decided to travel to Germany. There, he visited some concentration camps and saw pictures of the gay men who were imprisoned there. “I found these beautiful photos of these people who were Jewish and trans” and gay], Palmer said. “Being a writer of musicals by trade, the pictures started me on a journey of writing this new piece.”
This “new piece” is Palmer’s one-man play, “Chanteuse: A Survival Musical,” which he’s currently performing at Here Arts Center (145 Sixth Ave.). The play relates the story of Werner, a gay man in 1930s Berlin who assumes the identity of his landlady, a German woman who had died unexpectedly, in order to avoid persecution and imprisonment. A performer by trade, Werner reinvents himself as a chanteuse and begins singing for his supper, and survival, in the clubs of Berlin. “It’s fictional, in a way, because there’s no [single] person who had this experience,” Palmer told the New York Jewish Week. “However, each one of the pieces [in the play] is true.”
The play explores the precarity of survival and how intersecting identities complicate ideas about oppression and freedom. “There are heart-wrenching stories of Jewish families whose relatives were killed during these times. And some of those people were gay — but you don’t hear about them much,” Palmer said. “The reason is families didn’t talk about it back then. If Uncle So-and-so was sent away [before the round-ups of Jews intensified], no one talked about why. So all of these records of people who existed are just gone.”
Palmer plays Werner, a gay man in 1930s Berlin who assumes the identity of his landlady to escape Nazi persecution. (Russ Rowland)
Despite being raised in a Mormon community in Salt Lake City, Palmer said he’s long felt a kinship with Jews. “As soon as I left [home] I began to make lifelong friendships with Jewish people, mostly because of theater. You can’t have theater without Jewish people or gay people!” he said. “When I see the rise of antisemitism today I just think: ‘For gosh sakes, how can people keep attacking this group of people?’”
As “Chanteuse” unfolds, Werner, like so many gay men during that time, isn’t able to escape the long arm of the Nazi regime for long. He is eventually outed and imprisoned in a concentration camp, where he both experiences and witnesses brutal violence and dehumanization. “Even though the Jewish people are in another camp on the other side of the wall, there are still a small number of gay Jews on this side. On Friday evenings, the gay Jewish men pray,” he relates, in a touching monologue toward the end of the scene.
“Chanteuse,” written and performed by Palmer and directed by Dorothy Danner, is about memorializing those whose stories were lost. Throughout the play, Werner relates stories of LGBTQ+ prisoners as well as Romani people, people with mental and physical disabilities, and, of course, Jewish people he meets throughout his calamitous journey. It is also, however, about creating connections to the rise in anti-LGBTQ+ legislation and antisemitism in the current age.
To that end, Palmer curated a mini pop-up museum, displayed in the atrium outside the theater, that presents information about what happened to members of the LGBTQ+ community in Europe during World War II. “I envisioned people engaging before the performance and having the information sink in during the play,” Palmer said. “But it’s interesting to see how many people walk past all of these panels, and after the show they went out to the museum and actually spent time reading and viewing the history.”
According to the United States Holocaust Memorial Museum, gay men were “often subjected to physical and sexual abuse by camp guards and fellow inmates,” and some were “beaten and publicly humiliated.” Some of these prisoners were also subject to inhumane medical experiments or forced castration, according to the USHMM. These “pink triangle prisoners,” named for the badge they were forced to wear in the camps, were arrested for breaking an existing German law that made same-sex relations illegal in the country.
The exhibit draws direct connections between the use of the legal system and false medical science by the Nazis and the current rise in vitriol directed towards the LGBTQ+ community in America and around the world. While our government isn’t conducting forced castrations of gay men and women like the Nazis did, given the veritable flood of anti-LGBTQ+ (and particularly anti-trans) laws being passed by state governments across the United States, Palmer believes we should be paying very close attention to these legislative moves before it’s too late.
“History cannot repeat itself,” Palmer said. “People are being silenced. They’re being forced to hide. I’ve never lived in a closet, I’ve always been myself. My truth was always out there. The idea that people like me are being told they can’t live their whole truth is frightening to me.”
But bringing historical documentation into the experience isn’t the only way in which “Chanteuse” is a multimedia project — it’s also musical, with a score written by award-winning composer and arranger David Legg. “The music serves almost as a spoonful of sugar: It helps the information go down easier,” Palmer said.
Stylistically, the score implements melodic and harmonic elements of both early-‘30s-era jazz and traditional European Jewish music. The instrumentation (piano, tenor saxophone, percussion and upright bass) was chosen by Legg in order to facilitate this evocative musical landscape. “We ended up putting an underscore through the entire piece,” Palmer said. “It created a continuity, so you never feel it’s disjointed — dialogue, song, dialogue, song — the audience is never shocked out of the world we’re creating.”
And yet, Palmer insists that his created world is very relevant to the one we’re living in today. While it may seem unimaginable for something as horrifying as the Holocaust to repeat itself, Palmer said he and his co-creators want to remind audiences of the current trends towards authoritarianism around the world as they watch Werner navigate the terror of being gay in 1930s Berlin.
“Around the United States, we’re seeing more and more bans of drag performance, of gay media,” Palmer said. “And I think drag, like any other art form, is a way of storytelling. It isn’t anything people should be afraid of.”
“This is a moment in which it’s important to say, ‘We all need to work together,’” he added. “You know, if every persecuted group stood strong together, we’d be surprised at how quickly things would turn around in a positive way.”
“Chanteuse” is being performed at Here Arts Center (145 Sixth Ave.) on Tuesdays through Saturdays through July 30. For tickets and additional info, click here. In order to allow broader access to the musical, 10 tickets priced at $10 are available for each performance on a first come, first served basis.
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The post A new musical spotlights the Nazi persecution of LGBTQ+ people appeared first on Jewish Telegraphic Agency.
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Why the Shtisel Prequel ‘Kugel’ Is Sweet and Savory
A screenshot from “Kugel.” Photo: Courtesy of Abot Hameiri/Menuetto Film.
Many fans of the show Shtisel wanted that show to continue, but I jumped for joy when I heard that a prequel called Kugel was being made. Available on the streamer Izzy, the show is clearly part of the Shtisel universe but is a little different.
There is still romance, and there is still a lot of heart, a respect for religion, and a wild sense of humor. But before we get to the actors, let’s look at the characters.
The two main characters brought over from Shtisel are Nuchem and his daughter Libbi.
For Nuchem (Sasson Gabai) we learn what made him so cheap, what makes him bitter, where he gets his humor from, and how he came up with his catchphrase “cursed-evil doers.” For Libbi (Hadas Yaron), we see there is more to her than her desire to get married.
One of the most crucial storylines is that Libbi is a writer — and she is persistent. Her short stories garner a following, which may explain why she later appreciates that Kive is an artist in Shtisel.
The main new character is Yiddes (Mili Avital), who becomes involved with Nuchem.
It is no surprise that Gabai, Yaron, and Avital have all won Ophir Awards, which is Israel’s equivalent to the Oscars. The acting is stellar and one benefit of having fewer characters is that we can zero in on the lives of a few people. It was a good choice to put Nuchem and Libbi in another country: Belgium.
Gabai is tremendous and we don’t see him smoke in the first three episodes or hear his famous catchphrase. Nuchem is a flawed character; he does some bad things, but he also does good things. There are a few curveballs you won’t see coming. Overall, the show teaches us that we can find love in the places we least expect — even on a tram. Many fans will miss Michael Aloni not being on the show, but Kugel is well baked and stands up on its own.
Creator and writer Yehonatan Indursky is still on point, and he is able to pull at your heartstrings. Yes, perhaps the notes sound familiar, but slightly different. Yaron is outstanding and we believe it when a prospective husband is blown away by her kind soul. From seeing the first three episodes, it is clear that it was a mistake of Netflix to take Shtisel off the air and not do another season or this prequel — but it is Izzy’s gain.
Just like a burnt piece of kugel, all three characters feel burned in some way, but who will come out of it in the best position? Gabai and Yaron each have a great moment of acting simply by facial expression. For Gabai, it’s when he realizes a trick won’t work, and for Yaron, it’s when she feels insulted by an author who suggests that she take one of her workshops. And Avital has a fine scene where we think she might have an emotional explosion, but is restrained and it makes for a more interesting watch.
While unmarried men and women are forbidden to touch, there is a scene where a date rubs his fingers over her name on a siddur so it is as if he is connecting to her. Seeing Nuchem riding his bike is absolutely hilarious. This is a show that electrifies your kishkes, with the type of acting that is clever, nuanced, and unforgettable. If you are in love, you’ll find much to relate to on the show. If you’re not in love, it will likely make you want to go out on dates — and as long as you’re not cheap, you can take someone out for more than a piece of kugel.
The author is a writer based in New York.
The post Why the Shtisel Prequel ‘Kugel’ Is Sweet and Savory first appeared on Algemeiner.com.
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Retribution in Syria: What It Means for Israel and the Region
Syria’s newly appointed president for a transitional phase Ahmed al-Sharaa meets Saudi Crown Prince, Mohammed Bin Salam, in Riyadh, Saudi Arabia, Feb. 2, 2025. Photo: Bandar Algaloud Saudi Royal Royal Court/Handout via REUTERS
The carnage in Syria is terrifying, horrifying, and gruesome — particularly if you are a member of a Syrian minority group — Christians, Druze, Kurds. Or Alawite.
Did no one think there would be retribution after the ouster of the brutal Alawite Assad regime?
When Hay’at Tahrir al-Sham (HTS) commandeered Damascus in December, no one seemed very upset. After all, Bashar al-Assad had been responsible for more than 500,000 deaths during the Syrian civil war — including from starvation and chemical attack — plus creating 6 million refugees inside the country and another 5 million outside and wrecking the country from top to bottom.
But HTS has been sitting in Damascus — and Assad had tens of thousands of soldiers in historic Alawite territory around Latakia, where fighting recently broke out.
Some of those ousted soldiers appear to have attacked government forces, and they are paying for it. So are the other minority groups that Assad allowed to live in relative peace for a while with Iranian protection because they, like he, feared the majority, Sunnis.
And, as always, civilians are the victims, because once the forces of retribution are unleashed, they are hard to control — particularly as HTS is not the only armed terror group in the country.
HTS is Sunni, ISIS-adjacent, Al Qaeda-adjacent, and armed by and aligned with Recip Tayyip Erdogan’s increasingly Islamist Turkey.
HTS evolved from Jabhat al-Nusrah, or “Nusrah Front,” Al-Qaeda’s former branch in Syria, which was designated a terror organization by the US in 2012, None of that appeared terribly important in the West.
HTS leader Ahmed al-Sharaa (aka Abu Mohammed al-Jolani) is an international jihadist. He broke with Ayman al-Zawahiri — the leader of Al-Qaeda — in 2016, and HTS received its own terror designation from the US in 2018. He has no loyalty, moving from an alliance with Al-Qaeda in Iraq to the Islamic State in Iraq, to Abu Bakr al-Baghdadi in Syria, to Al-Qaeda in Syria, to his own brand.
Al-Sharaa talked a fairly moderate game, but his alliance with Turkey should have been a tip-off. Turkey has been waging an ugly war against Kurds in the north of Syria — bombing towns and cities, and at one point cutting off water to a million people.
The history should have made you think that al-Sharaa was not going to be a peaceful neighbor to anyone. Anywhere.
Israel wasn’t taking chances.
Immediately, the IDF struck Syrian chemical weapons depots and “research facilities.” It struck the ports of Al-Bayda and Latakia, taking out dozens of sea-to-sea missiles with ranges of 80–190 km, each with significant explosive payloads. The Israeli Air Force targeted anti-aircraft batteries, airfields, and dozens of weapons production sites, neutralizing Scud missiles, cruise missiles, surface-to-sea, surface-to-air and surface-to-surface missiles, plus UAVs, fighter jets, attack helicopters, radars, tanks, hangars, and more. And the IDF conducted strikes on 130 ground assets in Syria, including weapons depots, military structures, launchers, and firing positions.
The IDF estimated it had eliminated 80 percent of the Assad arsenal. Voices were raised in the UN, the EU, and in the Middle East over Israel’s declaration that it would continue to hold slivers of the Syrian Golan. Syria’s Druze and Kurdish communities, however, asked for Israel’s protection, and at least one southern village asked to be annexed to Israel.
Still in December, the Biden administration started a conversation with HTS leadership in Damascus. Turkey promoted its ties with HTS and with al-Sharaa. As recently as last week, parts of the Washington “policy wonk” community were promoting an “alliance” between Turkey and Israel, led by the US, to cement a “moderate” Syria and pave the way for reconstruction funds to flow.
Try again.
Now, with the death toll mounting — and gory and heartrending videos from Syria flooding the Internet — al-Sharaa declared it necessary to “preserve national unity and domestic peace; we can live together.”
And where is the US? President Donald Trump, in his first term, directly punished the Assad regime for a chemical attack, and CENTCOM has been active in striking ISIS positions in Syria in his second. There appears to be no decision on whether to withdraw the roughly 2,200 American troops remaining in northern Syria.
Secretary of State Marco Rubio, however, appears to be giving al-Sharaa a bit of wiggle room. “The United States condemns the radical Islamist terrorists, including foreign jihadis, that murdered people in western Syria in recent days … Syria’s interim authorities must hold the perpetrators of these massacres against Syria’s minority communities accountable.”
Good idea, but al-Sharaa and HTS are themselves radical Islamists. It is unclear that he can or wants to kill his Sunni allies on behalf of the Alawites, who decimated Syria’s Sunni population.
Retribution is a nasty game.
Shoshana Bryen is Senior Director of The Jewish Policy Center and Editor of inFOCUS Quarterly magazine.
The post Retribution in Syria: What It Means for Israel and the Region first appeared on Algemeiner.com.
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How Reuters and Getty Images Platform a Gaza Photojournalist Kissed by Hamas’ Sinwar
Yahya Sinwar, head of the Palestinian terror group Hamas in Gaza, in Gaza City on April 14, 2023. Photo: Yousef Masoud / SOPA Images/Sipa USA via Reuters Connect
On October 7, 2023, Gazan photojournalist Hassan Eslaiah held a grenade in one hand and a camera in the other, documenting Hamas’ massacre inside Israel. His exposure by HonestReporting, which brought to light a cozy photo of Eslaiah and former Hamas leader Yahya Sinwar, led to the end of his employment at CNN and the Associated Press.
Yet more than a year later, his work was still being offered for sale by Reuters and stock photo agency Getty Images, along with other compromised photojournalists in Gaza. (Getty only removed his work last week after an initial version of this story was published on HonestReporting’s website — and it remains available on Reuters).
Hassan Eslaiah (r) with former Hamas leader Yahya Sinwar (l)
An HonestReporting investigation revealed that the two media companies have been distributing the tainted content in collaboration with state-run Turkish agency Anadolu — an arrangement that seems to enable their profit without liability. Both companies have a global reach, with Reuters as one of the world’s largest news agencies and US-based Getty Images as one of the world’s largest image licensing companies.
Their databases also present images by Anadolu freelancers Ashraf Amra and Mohammed Fayq Abu Mostafa, who Reuters officially distanced itself from after HonestReporting’s investigative team exposed Amra’s close relations with former Hamas leader Ismail Haniyeh, and his shared call with Abu Mostafa to invade Israel.
One of Abu Mostafa’s images, which is still for sale on the Reuters platform, has, according to Anadolu, been used as evidence in the genocide case against Israel at the International Court of Justice.
Unethical Content Distribution
Reuters partnered with Anadolu, which also collaborates with AFP and DPA to distribute its content, back in 2019. Reuters said that “these partnerships will help us create the most comprehensive collection of real-time, multimedia news content anywhere in the world.”
Anadolu’s partnership with Getty Images started in 2013, with Getty’s Senior Director of photography for Europe, the Middle East, and Africa saying at the time: “I am very excited at the prospect of seeing the Anadolu Agency represented by Getty Images around the world … I believe that the Anadolu Agency and Getty Images will benefit greatly from this partnership.”
Indeed, the partnership proved useful not only for the companies, but also for the compromised Gazan photojournalists who can no longer work directly for Western media.
Currently, Reuters offers for sale over 200 Anadolu photos by Hassan Eslaiah (spelled Hasan Eslayeh on their platforms). Most of the photos show Hamas’ hostage release ceremonies, including the barbaric handover of terrified Israeli hostage Arbel Yehud amid a mob of terrorists (which other Western media also picked up):
Eslaiah’s easy access and proximity to the action isn’t surprising. He enjoyed the same conditions on October 7, 2023 when he infiltrated with Hamas into Israel:
And here is footage of Eslaiah after he crossed into Israel and took photos of a burning Israeli tank. He then captured infiltrators entering Kibbutz Kfar Azza.
Note that he is not identifiable as a member of the press. But AP & CNN deemed it acceptable to use his services. pic.twitter.com/fA0VI2df2i
— HonestReporting (@HonestReporting) November 8, 2023
The fact that Eslaiah was fired from CNN and AP after we exposed him in November 2023 seems not to have affected his livelihood, with Reuters and Getty Images distributing his propagandist material under the cover of the partnership with Anadolu.
And until last week, Getty Images had no qualms about charging $175-499 dollars for each photo, presumably also including a cut for Anadolu and Eslaiah himself.
Reuters keeps the pricing confidential, but adds a disclaimer distancing itself from the content. The disclaimer seems like a cop-out because on its collaborations page, where Anadolu is listed, Reuters praises its partners’ “compelling content.”
In other words — Reuters and Getty Images make a profit, while abdicating responsibility for spreading the manipulative photos of a Hamas sympathizer, whose pockets are presumably also lined.
Platform for Manipulation
The same business model also seems to work for Gazan photojournalists Ashraf Amra and Mohammed Fayq Abu Mostafa. Reuters officially cut ties with them after we exposed in January 2024 that Amra was honored by former Hamas leader Ismail Haniyeh and hosted an Instagram Live with Abu Mostafa in which they called on Gazans to infiltrate into Israel on October 7.
Here’s Amra getting a kiss from Haniyeh in 2023 and receiving an honor from the unlamented Hamas leader in 2012. pic.twitter.com/VdWXN6wB32
— HonestReporting (@HonestReporting) February 23, 2025
But as Anadolu contributors, Amra and Abu Mostafa are both featured on the Reuters platform — Amra with over 5,000 photos and Abu Mostafa with over 300. On Getty, Amra is less prominent but over 150 photos of Abu Mostafa are offered for sale, including video clips.
These photos don’t just sit in the databases. Reuters and Getty are among the world’s largest digital distribution platforms used by thousands of media clients worldwide.
Recently, Getty clients like The Times of London and the Daily Express were happy to buy Amra’s Anadolu photo showing the moment when Israeli hostage Omer Shem Tov “kissed” the head of his Hamas captor:
CNN did the same with Amra’s Anadolu photos of Israeli hostages Eli Sharabi and Or Levy via Getty Images.
And last year, Anadolu weaponized one of Abu Mostafa’s photos — still on sale in the Getty Images and Reuters platforms — as evidence at the ICJ case accusing Israel of committing a genocide against Palestinians in Gaza.
According to Anadolu, the photo “shows the mass burial of the Fatayer family members in a designated area in Gaza due to the lack of available space in some cemeteries.”
Fayq’s photo in Getty Images database
Fayq’s Photo in Anadolu website
Fayq’s Photo in Reuters Database
Sadly, the court didn’t know the photo was taken by a “journalist” who was thrilled by the massacre of Jews and called on Gazans to infiltrate the border, to enjoy the abduction of “settler” women.
But more Reuters and Getty’s own responses, it may be time for US Attorney General Pam Bondi to take an interest. In December 2023, following HonestReporting’s exposure of photojournalists who infiltrated Israel on October 7, 14 state attorneys general wrote a letter to The New York Times, AP, CNN, and Reuters calling them out for using hires with ties to Hamas and reminding them that providing material support to terrorists and terror organizations is a crime.
The letter even specifically mentions the case of Hasan Eslaiah and ends by calling on the media outlets to “ensure that you are taking all necessary steps to prevent your organizations from contracting with members of terror organizations. We urge you in the strongest terms to take care that your hiring practices conform to the laws forbidding material support for terror organizations.”
Despite whatever action may be taken, these propagandists have found a deceitful way to continue spreading their lies to the international media.
And the international media can, for at least the time being, enjoy the “goods” without getting their hands dirty.
UPDATE
Within a few hours of publication of this article on HonestReporting’s website, Getty Images, to their credit, removed all content that was flagged by HonestReporting, including a Ramzi Adel video that called Jews “dogs,” and content from Hassan Eslaiah, Ashraf Amra, and Mohammed Fayq Abu Mostafa.
The same cannot be said for Reuters, however, which gave us the following statement referring to the Connect platform it operates: “Reuters Connect is a commercial marketplace with content from more than 100 news organizations, allowing media customers the option to select the content that is most relevant to their news cycle. This content is clearly labeled and is not endorsed by Reuters.”
HonestReporting is a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
The post How Reuters and Getty Images Platform a Gaza Photojournalist Kissed by Hamas’ Sinwar first appeared on Algemeiner.com.
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