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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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Antisemitic AI Videos Target Children With Disney-Pixar Style to Push Holocaust Denial, Report Shows
AI-generated videos found on TikTok, Meta, YouTube, and X imitated popular animation styles from Disney-Pixar movies to present Holocaust denial and antisemitic tropes to children. The image of a child second from the left is from a trailer depicting Jewish children in a concentration camp during World War II. Photos: Screenshot collage from CyberWell report.
A pathbreaking report released this week reveals that online users have started exploiting AI video generators to weaponize the nostalgia of Disney-Pixar styles, wrapping venomous hate in a candy-coated shell to reach youth.
On Sunday, CyberWell, a Tel Aviv-based nonprofit focused on monitoring antisemitism on social media, published research tracking 307 identified pieces of AI-generated content targeting Jews on social media between January 2025 and February 2026. The group found that the images and videos received 30 million views and more than 2.8 million user interactions such as likes or reshares. They observed animations created with OpenAI’s Sora, Google’s Veo, X’s Grok, and Suno.
While TikTok accounted for the biggest chunk of the content at almost 36 percent, the popular video-sharing service also came through with the highest level of enforcement at more than 88 percent. Instagram drove the top rates of engagement, accounting for almost 65 percent while its total antisemitic posts reached nearly 25 percent.
The Meta platform saw a removal rate of 67 percent, notably higher than Alphabet’s YouTube (28 percent) and billionaire Elon Musk’s X platform (20 percent). Musk recently incorporated X, xAI, and its Grok chatbot into his rocket company SpaceX before an anticipated IPO in June.
CyberWell found three primary narratives across the videos: 33.2 percent portrayed Jews as greedy or money-obsessed, 21.5 percent involved the Holocaust, and 21.2 percent presented violent rhetoric against Jews inspired by a specific event, in this case the June 2025 Israel-Iran conflict and the viral video “Boom, Boom, Tel Aviv.” The video features such lyrics as “Boom, boom, Tel Aviv. This is what you get for all your evil deeds […] You brought this upon yourself, it’s your time to bleed […] Humanity never expected good behavior from you Jews.”
The researchers called mid-2025 a turning point in the rise of AI-driven antisemitic videos, with 98.4 percent of identified content originating from that point forward.
The report describes “a recurring pattern in which users package AI-generated antisemitic content in formats designed to appeal to younger audiences. The most common examples include fabricated Disney-Pixar-style movie trailers and gaming-related audio clips that promote Holocaust-related mockery, antisemitic conspiracy theories, and hate speech targeting Jews.”
One of the techniques users attempt to evade moderation is to label such videos with tags claiming “satire” and “dark humor.” Others will use the term “Caust” instead of “Holocaust.”
One example presented features a fabricated trailer for a “Caust” movie created with Sora in the Pixar style. Researchers described how “set in a concentration camp, the trailer portrays Adolf Hitler in a lighthearted manner while following a group of Jewish child prisoners attempting a dramatic escape. By presenting the Holocaust in a playful, animated format, the video turns atrocity into entertainment and diminishes the gravity of Jewish suffering.”
The AI videos also exploit kids’ love for video games.
One TikTok video created with Sora and titled “CAUST COMMANDER” received 66,500 views, 4,623 likes, and 3,619 reposts. According to the report, “the post portrays Adolf Hitler in a playful, stylized manner while depicting him killing those around him. The video makes light of the Holocaust and the mechanisms used to exterminate Jews by presenting them in a gamified, commercialized format, including the promotion of fake merchandise such as Zyklon B gas, themed outfits, and ‘back bling.’”
On March 24, OpenAI announced the decision to shut down Sora following months of reporting on antisemitic content proliferating across the platform. Analysts judged that the decision was reportedly motivated by a need to free up computational power for the training of new models so OpenAI could remain competitive as Anthropic’s Claude surges in popularity among coders and Alphabet’s Gemini draws away users.
The report emphasizes the deep extent to which antisemitism has penetrated AI systems.
“Many of the websites used in AI training datasets function as active hubs for antisemitic discourse, raising concerns about their inclusion in model development,” the report says. “For example, Reddit ranks among the most cited domains across major AI systems, while analyses of ChatGPT outputs indicate that Wikipedia alone contributes to roughly half of generated responses. The reliance of AI companies on these websites underscores the risk that antisemitic narratives circulating online may become embedded in model inputs and later disseminated at scale.”
CyberWell CEO and founder Tal-Or Cohen Montemayor warned that AI had turbo-charged both the speed and intensity of online antisemitism.
“Artificial intelligence has fundamentally changed the scale and speed at which antisemitism can be produced and distributed online,” Cohen Montemayor said. “Generative AI now allows bad actors to industrialize hate, producing high-impact content that can reach millions, with enforcement often coming only after it has already been widely amplified.”
Cohen Montemayor added that CyberWell’s latest report “examining the circulation of antisemitic AI-generated content on major platforms provides critical insights for how social media platforms can take on the abuse of generative AI tools to spread antisemitism in the digital universe.”
CyberWell found that while the Pixar-fied, disarming aesthetics targeted children, it was the videos openly glorifying violence that provoked the highest level of shares reaching 33 percent of content but 41 percent of engagement.
Cohen Montemayor called for the platforms to “move beyond disclosure and invest in systems that identify harmful narratives at scale, including those embedded in audio, visuals and coded formats that evade traditional detection.”
Warning that AI was “being weaponized at scale,” Cohen Montemayor explained that “by strengthening automated detection, investing in competent and transparent human moderation, auditing training data and partnering with specialized external stakeholders, platforms and AI developers can address the complex and fast-evolving forms of online hate through sustained collaboration between technology companies, policymakers and expert partners.”
In one of the most closely watched legal battles in artificial intelligence, a jury on Monday ruled against Musk in a lawsuit the billionaire filed to force OpenAI to revert fully to its original nonprofit mission. Jurors decided that Musk had filed his suit too late.
The world’s wealthiest man faces potentially more severe legal challenges in response to his AI business in France, where prosecutors said they intended to pursue criminal charges due to the Grok chatbot’s promotion of Holocaust denial and generation of child sexual abuse images.
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Yeshiva University Holds Conference Calling for ‘Social Science’ Study of Rising Antisemitism
A graduate wears a Star of David on her graduation mortarboard during the commencement ceremony for Yeshiva University in New York City, US, May 2024. Photo: REUTERS/Andrew Kelly
Vital new data, scholarship, and moral encouragement were exchanged during a national conference Yeshiva University held earlier this month to promote the study of antisemitism as a “social science problem,” several academics who attended the event told The Algemeiner in exclusive interviews.
The “Antisemitism Conference” brought some 200 academics to the institution’s campus in Manhattan, New York amid a moment many Jewish community advocates have described as a “crisis” of antisemitism. Across the US, Jews have faced discrimination, battery, and even death over their Jewish identity and for being Zionists. Having seen the situation plunge to unprecedented lows, Yeshiva University called on scholars from a range of fields to use their expertise to explore and report on the matter.
Following the conference, Raeefa Shams of the Academic Engagement Network (AEN) told The Algemeiner that the academic community was responsive and arrived at the event with a harvest of findings and insight.
“They presented research they are in the process of conducting or in the process of publishing,” Shams said. “For example, we had one faculty member who presented on the correlation between anti-Israel attitudes and conspiratorial, antisemitic thinking. There was another scholar who presented on the experience of Jewish students with antisemitism post-Oct. 7. We had somebody else present about antisemitism within the American Psychological Association. We had a clinical psychologist talk about antisemitism and traumatic invalidation.”
The Algemeiner has covered a wide range of antisemitic incidents which transpired on the streets and campuses of the US since Hamas’s Oct. 7, 2023, attack on Israel unleashed a spike in global antisemitism. These included, among many other examples, a public-school principal inveighing against “Jew money,” an attempted arson at the Hillel International chapter in San Francisco, California, and the movement of some conservative students into the far-right ecosystem of antisemitism. In New York City, home to the world’s largest Jewish population outside of Israel, Jews have been targeted in the majority of all hate crimes this year despite comprising a small fraction of the total population.
The wave of hatred has changed how American Jews perceive their status in the US. According to the results of a previous survey commissioned by the Anti-Defamation League (ADL) and the Jewish Federations of North America, a striking 57 percent of American Jews believe “that antisemitism is now a normal Jewish experience.”
Higher education can lead the way in reversing this trend if it promotes the adoption of “trauma informed” policies, clinical psychologist Dr. Mari Bal-Halpern, told The Algemeiner.
“There needs to be a safe environment. That does not mean that we’re silencing voices, but it needs to be safe for everybody,” Bal-Halpern said, “We know how to do that; there are guidelines for how. Most universities say they are, but are they really following those guidelines? I doubt it.”
Antisemitic incidents in the US decreased overall in 2025, but violent attacks targeting American Jews remained at alarmingly high levels, according to the ADL’s latest Annual audit report. While antisemitic assaults increased by just 4 percent, from 196 in 2024 to 203 in 2025, perpetrators increased their use of “deadly” weapons by nearly 40 percent, the ADL said. Incidents of assault involving a deadly weapon increased to 32 in 2025 from 23 in 2024.
The advocacy group noted that the upward shift was reflected in the shocking murders of Jews in antisemitic attacks in the US for the first time since 2019. Two Israeli embassy staffers — a young couple set be engaged — were shot dead in Washington, DC last May, and weeks later a firebombing in Colorado claimed the life of an octogenarian. In both crimes, the alleged killers cited anti-Zionism as their motivating ideology.
Yeshiva University’s “Antisemitism Conference” was the first step toward amassing even more empirical data on this subject, another conference participant said.
“For all of us who are embarking on this area of research and investigation, we’re all dealing with this very large, amorphous, difficult to fully understand but very disturbing phenomena of rising antisemitism or rising anti-Israelism to the extent that there is a connection between them,” said Rutgers University psychology professor Dr. Kent Harber. “We’re trying to get some sense of the dimension and facets of it for our individual work.”
Follow Dion J. Pierre @DionJPierre.
