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Flirting with danger: A play based on the true story of 3 Dutch women who lured Nazis to their deaths premieres in NYC

(New York Jewish Week) — During World War II, three young women formed a small legion of the Dutch underground resistance, fighting Nazis with the most powerful weapons at their disposal: their youth, their gender and their sexuality. 

They were sisters Freddie and Truus Oversteegen and Hannie Schaft, who, in  1940 were 14, 16 and 20, respectively. While they, along with other resistance fighters, used dynamite to destroy bridges and railroads, and helped hide Jewish children and smuggled Jews out of the country, the very young women also would go to bars and pick up Nazi soldiers. They would ask the men to go for a walk in the forest under the pretense of romance or sex — and then shoot and kill them. Their story was told in a 2019 book, “Seducing and Killing Nazis,” by the Dutch author and activist Sophie Poldermans.

Now, a new play based on their actions, “The Moss Maidens,” is one of eight plays selected from 300 submissions showing at the SheNYC Festival at the Connelly Theater (220 East 4th St.) this week. 

“In my communities, both young women and Jewish people, I feel like there’s a lot of rage right now,” New York-based playwright S. Dylan Zwickel, 30, told the New York Jewish Week. “I think it will be both exciting and cathartic for people to get to see these girls raging and behaving badly and fighting systems that don’t work for them, and don’t work for people they care about, on stage.”

“The Moss Maidens” has already sold out three performances at the annual festival, which features plays written and created by people of “marginalized genders,” including ciswomen, trans and non-binary people. SheNYC chooses its submissions based on representation and how well its themes grapple with current events, Eh-den Perlove, one of the festival’s organizers said.

Due to the demand for “The Moss Maidens,” a fourth performance has been added, a first in the festival’s eight-year history. “Part of the reason ‘The Moss Maidens’ has resonated so much is that we’re having renewed discussions around white supremacy,” Perlove said. “It’s always been there, but it’s so relevant to how we’re kind of reacting in our day-to-day, to white supremacy, to Nazism, to neo-Nazism. It helps us ask ourselves, as a group who are maybe being persecuted or who see persecution, ‘What can you do to kind of stand up against that?’”

Ahead of the play’s opening on Wednesday, the New York Jewish Week caught up with Zwickel to discuss her inspiration for the show and why she felt the story was so relevant and necessary to tell.

This interview has been lightly edited for length and clarity. 

S. Dylan Zwickel is the Jewish playwright of “The Moss Maidens.” (Yekaterina Gyadu, design by Grace Yagel)

What was the inspiration for this play?

The play is based on a true story of the young Dutch women that did this, which was my initial impetus for writing the show. In addition to doing all of this active resistance work by actually murdering Nazis, one of them was hiding Jews in her home. I first read about it a few years ago in a random article — I don’t even remember where — and as soon as I read it, I was like, “I have to tell this story.” Then I read a great book about these girls: “Seducing and Killing Nazis,” which is written from several firsthand accounts of what happened. The author had access to a lot of people who knew them, and even some of the women themselves — two that lived to be 92 and died in 2016 and 2018, which is really remarkable.

I ultimately decided not to make my story exactly that of the true story and just made my play inspired by that story. That book provided great research so I could come up with my own characters and plot based on their experience; it was really exciting having the creative license of making them my own characters, and being able to sort of dive into aspects of it that may not have been included in the original story. But there’s always that layer there that people really did make this choice. People really did do these things. 

Why is it important to tell this story in 2023?

There is a certain catharsis getting to watch these young girls fight back against the people who feel that way [about Jews]. For me, amidst the rising tides of antisemitism that are happening right now, it feels very easy to react by wanting to remember how badly things have gone in the past. I do think that is extremely important, but it’s also important to think about how that instinct can be fought. The story that, as a Jewish person, you’re expected to tell about World War II, is details of the Holocaust and people suffering. It’s so important to remember all of that, but I also needed the catharsis of people fighting back. I would rather write about and live in this world of people killing Nazis rather than my people being killed. That’s what I wanted to focus on. 

The story is still so relevant. A couple of weeks ago, I was on my way to see “Camelot” at Lincoln Center and there was this guy shouting antisemitic conspiracies and he had posters with antisemitic cartoons. I went into rehearsal the next day, and there’s a line in the play where a Nazi is talking about the Final Solution. I got so nauseous that I had to leave the room — having just seen this guy on the street the day before, I became so aware that there are still people who feel this way and it’s so  much closer than we think. 

One of the books that I read for research, “The Diary Keepers” by Nina Siegal, uses testimony from the thousands of diary entries written in the Netherlands during World War II. Siegal combed through them, translated them and published a book using these diaries. She included perspectives of Jews, perspectives of resistance fighters, perspectives of citizens who were not involved at all and just kept our heads down — which was most people — and also perspectives of Nazis and Nazi collaborators. It was really interesting reading that, especially reading about the beginning of the war and just feeling how close we are to how it did start. It was alarming, but also enlightening.

Why is it important to give these young Dutch women a voice?

Pretty much all of my writing features young women. That is an area of focus for me. I think of everything that I write as “a superhero origin story.” It’s all about girls stepping into their power. That’s true across everything I write, but this is kind of the best and biggest example of it, which is one of the reasons I’ve so enjoyed working on it — it just feels like the most major, distilled and exciting version of that. 

It is just so remarkable that during that time there were these girls who, despite everything they were being told by society, had the awareness to make a different choice. There’s a lot of discussion in the play about the choice to be doing this and how easy it would have been to make a different choice. I hope that this play can help inspire young women to ask themselves, “Could I be one of these girls? Is this how I would respond in a situation like this?”

As you were writing and researching the play, was there anything unexpected that you learned about yourself or about the story?

Well, it was interesting because I initially wasn’t thinking of the play as that Jewish because the characters are not Jewish — one is half-Jewish. I didn’t want to make any of them Jewish “just because,” for two reasons. One, historically, they would have had to either be in hiding or have escaped already, so they wouldn’t have been able to be doing the activities they were doing. The other reason is I was really interested in the idea of these girls fighting to protect not themselves but other people. For the most part, the girls say they don’t even know any Jews, so they’re really not fighting for any friends of theirs, just for belief in the rights and humanity of all people.

The more we’ve worked on it, the more I’ve realized how Jewish the sense of morality and the cultural values in the play are. Even though these are not written as Jewish girls, they bear a lot of resemblance to Jewish girls and women that I know. I’ve written them as loud and brave and bold and opinionated — all of these things that I associate as being Jewish cultural values. So I think even though I didn’t write them as Jewish characters, I was surprised to discover how much of my own Jewish culture embedded itself in there anyway.

“The Moss Maidens” will be performed at the Connelly Theater (220 East 4th St.) four times this week. A digital version of the show will be available for purchase for $5 and will be available to stream from August 4-6. Find tickets and information about the SheNYC Festival here. 

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The post Flirting with danger: A play based on the true story of 3 Dutch women who lured Nazis to their deaths premieres in NYC appeared first on Jewish Telegraphic Agency.

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Rising Antisemitism on European Campuses: Italian Professor Assaulted, French Students Excluded From Online Groups

Youths take part in the occupation of a street in front of the building of the Sciences Po University in support of Palestinians in Gaza, during the ongoing conflict between Israel and Hamas, in Paris, France, April 26, 2024. Photo: REUTERS/Gonzalo Fuentes

Violence and intimidation against Jewish and Israeli students as well as faculty are on the rise across European campuses, as an Italian professor was assaulted at the University of Pisa and students in France were excluded from online groups over their Jewish identities.

On Tuesday, pro-Palestinian protesters stormed a classroom at the University of Pisa in Tuscany, Italy, and assaulted an Italian professor who has opposed cutting ties with Israeli universities.

According to local reports, protesters burst into the classroom waving Palestinian flags and shouting antisemitic slurs, targeting the professor over his opposition to the university’s recent decision to sever ties with two Israeli universities.

A student who tried to intervene was attacked by protesters. When the professor stepped in to protect him, he too was assaulted and later hospitalized with injuries to his head and arms.

On the same day, anti-Israel protesters disrupted a lecture by a visiting Israeli speaker at the Polytechnic University of Turin in northern Italy, shouting antisemitic slogans as they stormed the classroom.

Shortly after the incident, the university announced it was cutting ties with the speaker because he had defended the Israel Defense Forces (IDF) during the confrontation with the protesters.

Since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, anti-Israel activity on campuses has intensified, with Jewish and Israeli students facing frequent targeting and isolation in an increasingly hostile environment.

On Monday, a group of first-year economics students at Panthéon-Sorbonne University in Paris created a group chat on Instagram that excluded several students, accusing them of being Zionists based on their Jewish-sounding names or surnames, French media reported.

“If there are any other Zionists in this group besides those I’ve already kicked out, leave now — we don’t want you here,” wrote one of the students who created the group, placing a Palestinian flag in the middle.

This latest antisemitic incident follows a similar episode last month, when a student created a poll in a WhatsApp group chat titled, “For or Against Jews?”

Yossef Murciano, president of the Union of Jewish Students of France (UEJF), denounced the rising wave of anti-Jewish incidents, noting that the group had posted notices across multiple campuses to highlight the latest antisemitic episodes.

“We reported the incident to the university, but so far nothing has been done. We were told that measures would be taken, but we don’t know when or how,” Murciano said.

In a press release, the university strongly condemned such “unacceptable behavior,” expressing its full support for those students affected by the recent antisemitic incidents.

The university also announced that it had submitted “all available evidence to the public prosecutor” regarding these two incidents and plans to initiate “disciplinary proceedings” against each of the perpetrators.

“These two acts, whose antisemitic nature seems clear, deserve a punishment commensurate with their severity,” the statement read.

French Minister of Higher Education and Research Philippe Baptiste strongly condemned the latest incidents, demanding a zero-tolerance approach.

“I stand with these young people, victims of antisemitism that must be opposed everywhere, including, sadly, in our universities. There is only one possible response: zero tolerance!” Baptiste wrote in a post on X.

Yonathan Arfi, president of the Representative Council of Jewish Institutions in France (CRIF), also spoke out against the incident, calling it a disturbing example of rising antisemitism on campuses.

“This is not a pro-Palestinian campaign, it is a campaign of antisemitic intimidation,” Arfi said in a post on X.

The incidents occurred weeks after two international Jewish groups and a German watchdog published a report showing that antisemitism on European university campuses following Hamas’s Oct. 7 invasion of Israel has fostered a “climate of fear” for Jewish students.

Then earlier this week, the Anti-Defamation League (ADL) and the World Union of Jewish Students (WUJS) released their own report which found that the vast majority of Jewish students around the world resort to hiding their Jewishness and support for Israel on campuses to avoid becoming victims of antisemitism.

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Radio-Canada Suspends Journalist After Antisemitic Comments Spark Outrage

Radio-Canada reporter Élisa Serret. Photo: Screenshot

A journalist at Canada’s national public broadcaster, Radio-Canada, has been suspended after using antisemitic language during a Monday television broadcast, prompting an official apology from the network.

On the news program “Sur le terrain,” correspondent Élisa Serret, reporting from Washington on US Secretary of State Marco Rubio’s visit to Israel, was asked why the US continues to support Jerusalem despite its recent military offensive in Gaza.

Serret responded, saying in French, “The Israelis, in fact the Jews, finance a lot of American politics” and control a “big machine.”

The journalist then went on to claim that the largest US cities and Hollywood are “run by Jews,” echoing long-standing antisemitic stereotypes and hateful rhetoric about supposedly outsized and nefarious Jewish power.

After Serret’s comments went viral, sparking outrage from political leaders and the local Jewish community, Radio-Canada issued an apology, describing her remarks as “”stereotypical, antisemitic, erroneous, and prejudicial allegations against Jewish communities.”

“These unacceptable comments violate Radio-Canada’s Journalistic Standards and Practices and do not reflect the views of the public broadcaster,” the statement read.

“As a result, the news department has decided to relieve the journalist of her duties until further notice,” it continued. “We are aware that these comments have offended many viewers. We sincerely apologize and regret this.”

The Center for Israel and Jewish Affairs (CIJA), a Canadian Jewish advocacy group, strongly condemned Serret’s comments, accusing Radio-Canada of spreading “antisemitic lies.”

Eta Yudin, CIJA’s vice-president for Quebec, called on the public broadcaster to take concrete measures to keep antisemitic content out of Canadian homes.

“This incident cannot be allowed to pass without serious internal reflection on the damage such hateful rhetoric inflicts on our democratic values,” Yudin said in a statement. “Antisemitism is corroding the fabric of our society.”

Canadian Identity and Culture Minister Steven Guilbeault, who is responsible for overseeing the public broadcaster, also condemned the incident, saying that “antisemitism has no place in Canada” and describing Serret’s remarks as “pernicious antisemitic tropes.”

“When antisemitic language is used by journalists, or anyone in a position of trust, it risks normalizing hatred in deeply dangerous ways,” Guilbeault said.

Anthony Housefather, the government’s special adviser on Jewish community relations and antisemitism, denounced the incident, saying Serret’s remarks echoed “textbook tropes that are antisemitic under the IHRA definition,” referring to the International Holocaust Remembrance Alliance (IHRA) definition of antisemitism, which was adopted by the government in 2020.

Melissa Lantsman, a member of the opposition Conservative Party, criticized the public broadcaster for failing to “uphold the values of this country” by airing what she described as an “antisemitic rant.”

“Overt antisemitism on TV is part of the deep systemic rot corroding our society, and it flourishes when tax-funded institutions provide it with a platform,” Lantsman said in a statement.

“Canadians deserve better than excuses and carefully worded apologies,” she continued.

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Israeli Culture Minister Cuts Funding for Film Awards After Palestinian Drama Wins Top Prize, Chosen for Oscars Submission

A scene from “The Sea.” Photo: The Israeli Academy of Film and Television

Israeli Minister of Culture and Sports Miki Zohar said his ministry will pull state funding for Israel’s Ophir Awards, which is the Israeli equivalent to the Oscars, after it awarded a top honor to a film that “defames” Israel’s “heroic soldiers,” he announced on Wednesday.

At this year’s Ophir Awards ceremony on Tuesday night, “The Sea” won best picture, which automatically makes the film Israel’s submission for the 2026 Oscars in the category of best international feature film. The drama, directed and written by Shai Carmeli-Pollak and produced by Baher Agbariya, also won best screenplay, best actor for the 13-year-old Palestinian Muhammad Gazawi, best supporting actor for Khalifa Natour, and best original score. The movie, filmed in Arabic and Hebrew, marks Gazawi’s first acting role.

The Ophir Awards are voted on by the Israeli Academy of Film and Television, a nonprofit organization that is the Israeli version of the US-based Academy of Television Arts & Sciences. It has more than 1,000 members, including filmmakers, producers, content creators, and actors.

“The Sea” follows a 12-year-old Palestinian boy named Khaled, from a village near Ramallah, who gets the opportunity to go the beach for the first time in his life on a class trip to Tel Aviv. When he is forced to return home at a military checkpoint, while his classmates continue on to the beach, Khaled decides to risk his life and dodge Israeli authorities on his solo journey to reach the ocean. “The Sea” premiered at the Jerusalem Film Festival this summer and received support from the Israeli Film Fund.

In a statement on X, Zohar said that after the “pro-Palestinian” film, “which defames our heroic soldiers while they fight to protect us,” won the award for best film at the “shameful” Ophir Awards on Tuesday night, he decided to discontinue funding for the ceremony.

“During my tenure – the citizens of Israel will not pay out of their pockets for a disgraceful ceremony that spits on the heroic IDF soldiers,” he added. “This great absurdity, that Israeli citizens are still paying out of their pockets for the disgraceful Ophir Awards ceremony, which represents less than one percent of the Israeli people – is over. Starting from the 2026 budget, this pathetic ceremony will no longer be funded by taxpayers’ money. The citizens of Israel deserve for their tax money to go to more important and valuable places.”

Several winners on stage at the Ophir Awards ceremony, including Carmeli-Pollak and Agbariya, sported a black T-shirt with a message that called for an end to the Israel-Hamas war and said in Hebrew and Arabic “a child is a child.” Others wore shirts that called for the return of the hostages abducted by Hamas-led terrorists from Israel on Oct. 7, 2023, and talked about the devastation taking place in Gaza during the ongoing war. Acclaimed Israeli director Uri Barbash received a lifetime achievement award at the ceremony, and in his acceptance speech, he condemned actions of the Israeli government and Zohar, pleaded for an end to the war, and called for solidarity between Jews and Arabs.

“It is our sacred duty to bring all the hostages back to their families immediately,” he said. “To end the accursed war and replace the ‘divide and rule’ regime that has declared war on Israeli society!”

Other movies that competed alongside “The Sea” for best film at this year’s Ophir Awards included Nadav Lapid’s “Yes,” “Dead Language – which made its world premiere at the 2025 Tribeca Film Festival and is an expanded version of the Oscar-nominated short film “Aya” – and Natali Braun’s “Oxygen,” which is about a single mother fighting to pull her son out of military service and his deployment to Lebanon.

Israel has had 10 nominations in the category of best international feature film at the Oscars but has yet to win. The Academy of Television Arts & Sciences will announce on Dec. 16 a shortlist of 15 contenders for the 2026 Oscar for best international feature film. The final list of nominations will be announced on Jan. 22, 2026, and the 98th Academy Awards will take place on March 15, 2026.

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