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A new version of the famous Holocaust diary is being called ‘Anne Frank pornography’ and getting banned from schools
(JTA) – Among the many books that conservative parents have recently asked their children’s schools to remove is a lushly illustrated version of the most famous Holocaust diary.
The graphic adaptation of Anne Frank’s diary, published in English in 2018, has found itself at the center of a growing number of controversies involving book removals from school libraries. A small number of passionate activists have pushed for the book to be removed from schools in Florida and Texas, calling it “pornography” and even “antisemitic.” Sometimes, they’ve succeeded.
The movement to police children’s literature — particularly graphic novels — on the basis of race, sex and gender has encompassed thousands of different titles, and it has grown to become a potent political force with potential reverberations for the 2024 presidential race. The official who has played one of the biggest roles in enabling parents to challenge school library books, Florida Gov. Ron DeSantis, is now running for president.
To defenders of the illustrated book — including the foundation created in Frank’s memory, historians and Jewish groups — the inclusion of Anne Frank’s diary among the list of banned books is a sign that the movement is bigoted and misguided.
Proponents of removing the book from schools say the graphic adaptation is essentially an obscene version that distorts Frank’s legacy and aids in “grooming” children. Even some Jewish parents and at least one Jewish lawmaker have objected to the book’s presence in schools.
“I read the diary of Anne Frank many times as a kid. I don’t remember any of that stuff that they put in that graphic novel,” Florida Rep. Randy Fine told the Jewish Telegraphic Agency.
Calling the adaptation an “Anne Frank pornography book,” Fine continued, “And frankly that graphic novel is antisemitic. To sexualize the diary of Anne Frank in that sort of inappropriate way, it is antisemitic.”
Here is what you need to know about the book, the criticism it’s facing and the context that has made it a flashpoint in a deepening culture war.
What is ‘Anne Frank’s Diary: The Graphic Adaptation’?
Published in 2018, “Anne Frank’s Diary: The Graphic Adaptation” is a new, abridged version of Frank’s famous diary presented in comic-book format. The project was authorized by the Anne Frank Fonds, the Switzerland-based foundation started by Anne’s father Otto Frank, which controls the copyright to the diary Otto rescued after he survived the Holocaust. Anne herself perished in the Bergen-Belsen concentration camp after hiding out for most of the war with her family in an Amsterdam annex.
The Oscar-nominated Israeli filmmaker Ari Folman, together with illustrator David Polonsky, put the new book together. It was intended as a companion piece to the 2021 animated film “Where Is Anne Frank,” which Folman directed.
While the film tells the fanciful story of Anne’s imaginary friend Kitty coming to life and wandering through modern-day Amsterdam, the book is a straightforward, though heavily truncated, rendition of Anne’s original diary. All of the entries it reproduces are taken from her original text, and dialogue between the characters in the annex is based on Anne’s own recollections of their conversations. Some of its supporters resist the label “graphic novel,” which they say implies the story is fictional.
The new book, the foundation says, is not meant to replace Frank’s original diary, first published in Dutch in 1947 as “The Secret Annex” and in English in 1952 as “The Diary of a Young Girl.” That book, along with subsequent editions that restored some passages edited out of the first publication, continues to be published and widely read in dozens of languages.
Why and how is the book being challenged?
A handful of parent activists, the largest “parents’ rights” group in the country and at least one Republican state lawmaker — Fine — have specifically gone after “Anne Frank’s Diary: The Graphic Adaptation” as part of their larger campaign against what they say is obscene and pornographic content in schools. After a few isolated incidents of parental opposition to the book over the last year, their efforts have gained steam in recent months.
Organized by members of “parents’ rights” groups such as Moms for Liberty and No Left Turn in Education, parents nationwide have brought challenges against thousands of books in school libraries, the vast majority of which deal with topics of race, gender and sexuality. This movement began as parents organized to oppose COVID-19 mask mandates in public schools, and picked up steam in the aftermath of the 2020 racial justice protests following George Floyd’s murder, as well as recent political controversies involving LGBTQ-focused issues such as medical procedures for trans children.
The groups operate under the presumption that their children’s educators and librarians might be trying to sneak leftist viewpoints (including what they call “critical race theory” and “gender ideology”) into the classroom, or even that they are “grooming” their children.
Increasingly, such parents have trained this focus on books, and have become particularly sensitive to any literary depictions of sex and/or LGBTQ identity — particularly in graphic or comic-book format. Some of the most-banned books in schools across the country are graphic novels and memoirs with LGBTQ themes, including “Gender Queer” and “Fun Home.”
“People are just so uncomfortable with the idea of seeing anything represented visually,” said Kasey Meehan, director of the Freedom to Read program at the literary free-speech activist group PEN America. “Time and time again, when graphic novels are taken, an image is pulled out of context or an image is held up and declared as porn.”
Florida has emerged as a frontier for this movement under the leadership of DeSantis, who is a Republican. Under new laws he championed, educators can face felony charges for making obscene material accessible to students; the state also has a new law, dubbed “Don’t Say Gay” by its critics, that prohibits any classroom instruction on sexual identity or orientation in elementary and middle school, and limits it in high school.
Why are parents complaining specifically about the graphic adaptation?
Critics of the book say they are objecting to the small handful of passages in which Anne describes sexual matters. In one, she discusses a time she asked a female friend if they could show each other their breasts, but was rebuffed. (“If only I had a girlfriend,” she muses.) In another, she describes clinical details of her own vagina.
These passages are Anne’s own writing, and were part of her actual diary. Folman and Polonsky reproduce them in the book and show a full-page illustration showing her wandering through a garden of female nude statues in the Greco-Roman tradition.
This illustration, which is presented as coming from Anne’s imagination, has garnered the most intense blowback from parents. In Facebook groups devoted to book challenges, some members have shared screenshots of the page as evidence of the adaptation’s obscene qualities, questioning why any parent would want their child to read it.
Some people challenging the book have offered other explanations. Tiffany Justice, a co-founder of Moms For Liberty whose Florida district has removed the book, told JTA that she was troubled by the fact that the adaptation only replicates a small percentage of the original diary, while leaving out what she believed to be crucial context: the original epilogue that shifted from Anne’s first-person narration to a larger study of the victims of the Holocaust. (An afterword does appear in the graphic adaptation.)
Inveighing against current child literacy levels she said are woefully low, Justice was also infuriated by the idea that Frank’s diary needed an illustrated version to begin with.
“Anne wrote the diary when she was 13,” she said. “So the diary is written at a level where children of that age can completely understand it.”
What has happened when parents have challenged the book?
The book first grabbed headlines in August 2022, when administrators at Keller ISD, a public school district in the Dallas-Fort Worth area of Texas, ordered staff to remove it (along with a selection of other books) from their shelves. The book had been challenged by a single parent the previous year, and the school’s new board, backed by right-wing special interest groups, had ordered its review policy for classroom materials to be completely overhauled. Any books that had ever been challenged in the district were to be removed from circulation until the matter had been resolved. Following public outcry, the book was returned to Keller’s shelves a week later.
A second Texas school district, Katy ISD outside Houston, had also placed the book under review during the 2021-22 school year, ultimately determining it was only appropriate for high school students.
The book soon landed on the radar of parent activists in Florida. One Florida school district, Indian River County Schools on the state’s Atlantic coast, ruled in April that the book was “not age-appropriate” at any level of instruction, including high school. A parent there had challenged it, claiming that the book “minimizes the Holocaust.”
After a review, the district agreed with the parent, telling JTA it had determined the book to be “a fictional novel,” “not the real diary of Anne Frank,” and filled with “inappropriate content.” The district superintendent issued a statement backing the ruling, citing Florida’s statewide Holocaust education mandate as a reason why the school should not make the book available to students.
The national leadership of Moms For Liberty issued a statement siding with the district — and emphasizing that Anne Frank’s diary is not itself objectionable.
“There are multiple versions of Anne Frank’s diary of varying age appropriateness available to students,” the statement said. “Only this ONE version was removed.”
Justice, the Moms for Liberty cofounder, is a former board member for Indian River County Schools and still lives in the area. She told JTA she does not like the book either and said its removal was a sign of the system working as it should: School administrators took a parent’s challenge seriously and came to a decision.
“If the superintendent and the school board wanted it there, it would be there,” she said. “If the Holocaust education group in the county had wanted it there — these are Jewish people — had wanted it there, it would be there.”
Another Florida school district, Clay County Public Schools outside Jacksonville, has kept the book restricted from student access for some five months and counting, following a single parental complaint earlier this year. That parent, Bruce Friedman, is Jewish, and has become a leading voice of the broader book challenge movement. He challenged the graphic adaptation along with hundreds of other books in his district that he deemed to be inappropriate for students. “As far as I’m concerned, it’s grooming,” he told JTA about the adaptation.
Facing a backlog of book challenges, Clay County in April altered its challenge policy to make it harder for parents like Friedman to file blanket requests to remove many books at once for broadly defined reasons. But notably, the district retained the pending challenge to “Anne Frank’s Diary: The Graphic Adaptation” even after its policy change. A final decision on the book is still pending.
How are the book’s supporters responding to the criticism?
Activists opposed to the book banning movement and experts on the diary’s publication history say critics of the Anne Frank adaptation are wrong even about the most basic facts of their objections.
First, while the visual format of the graphic adaptation (which incorporates some surreal imagery) arguably lies somewhere between fact and artistic interpretation, and its rendition of the diary is severely abridged, the book did not invent the passages these parents find objectionable, as some have alleged. Those came, word for word, from Frank herself. Both passages were fully restored to her English-language diary beginning with versions published in the 1980s, largely without incident.
A crucial part of the argument against the graphic adaptation is the idea that both of these passages were excised from the initial English-language edition of the diary. Both Friedman and Fine have told JTA they have no recollection of having read the passages with sexual content in their own childhood memories of the diary.
They almost certainly did, said Ruth Franklin, a book critic and author who is writing a book about Frank and her diary to be published next year by Yale University Press. According to Franklin’s research, the very first English-language edition of the diary did indeed include one of the two passages the parents are now objecting to: the part where Anne discusses her attraction to another girl.
Franklin said that, contrary to popular belief, Otto Frank was the one who pushed for the passage to be included in the diary’s first English-language edition after it was excised from the Dutch original. Otto is often portrayed as having been responsible for removing the passage so as to sanitize Anne’s language for a general audience.
Contemporary parents who insist they did not read the passage as children, she said, are “misremembering.”
“If they were to actually go to the library and open up the edition that has been in print since 1952, they would be unhappily surprised to find what’s there,” Franklin said. “It seems inconsistent to me to go after the graphic adaptation and not the diary itself.”
At least one parent has objected to the unabridged text-based version of the diary before. In 2013, a Michigan mom challenged an unabridged edition of the diary, citing the same passages that today’s parents are objecting to in the graphic adaptation. She argued that the unabridged diary was “inappropriate for the middle school,” and tried to push her daughter’s district to swap out the “definitive” edition of the diary for the original version that excised one of the objectionable passages. The parent’s objection made national news, was the subject of much condemnation and was ultimately rejected by the district.
Conditions in schools have changed in the last decade, with parents in multiple states newly empowered to challenge books in their children’s schools. The movement has caught up not only the graphic version of Anne Frank’s diary but a growing number of other titles with Jewish and Holocaust themes.
Meehan of PEN America suggested that the parents who objected to Anne exploring her sexuality were doing so because of the passages’ latent LGBTQ themes, meaning that the text had become an example of “intersectionality,” or representing more than one marginalized group. Some of the book’s opponents, including Justice, have separately attacked the idea of intersectionality.
“When there are multiple themes represented in a book,” Meehan said, “then that book becomes even more a focus of efforts to remove it.”
For the Anne Frank Fonds, the Swiss group that controls the diary and authorized the adaptation, the situation is clear-cut. From across the Atlantic, the group issued a statement responding to challenges of the diary in all its forms: “We consider the book of a 12-year-old girl to be appropriate reading for her peers.”
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An Altadena synagogue’s mural was a symbol of community resilience after the LA fires. Antisemitic graffiti only proved the point.
ALTADENA, CALIF. – When Pasadena Jewish Temple and Center held services in the foothills of the San Gabriel Mountains, Chann and Christina An, who lived across the street, sometimes sat on their front porch and listened to the songs.
And when the Eaton fire flattened the PJTC campus last January — and the An home, too — the synagogue helped its next-door neighbors with food donations and gift cards.
“Ever since the fire, they’ve included us like one of their members,” Chann An said.
So when a vandal earlier this week spray-painted swastikas on a mural the synagogue had painted on its only remaining wall, it felt like an attack on them, too. On Thursday, when PJTC organized a community-wide solidarity event at the site, the Ans were among many non-Jewish residents in attendance.
“They’re part of our community, and they’re always welcome, and I want them to feel that way,” said An. “And I want them to feel that all the neighbors support them.”
What typically happens when a Jewish institution is tagged — an increasingly common story these days — is a familiar chain of events: Photos are snapped and posted online; Jewish leaders and local officials issue statements; the tag is covered up and people move on.
In Altadena, all of that happened. But so did something else: The synagogue was inundated with messages of support from surrounding faith institutions and Altadena residents, according to the temple’s executive director Melissa Levy. A few of those neighbors had offered to sand down the graffiti themselves.
“That kind of support has been really beautiful in the wake of all of this,” Levy said.
The Eaton fire devastated Altadena, killing 19 people and leveling cherished community institutions, including the temple’s 75-year-old campus and several other houses of worship. Dozens of congregants lost their homes in the blaze. Where PJTC’s sanctuary, chapel and religious school once stood, weeds now rise five feet off the ground.
The mural had been painted in May in response to graffiti on the same wall earlier this year. At the mural’s center was a fire poppy — a native flower known to rise from ashes — adorned with a message intended to be universal: We are all responsible for each other.
“When we look at the mural,” Christina An said, it reminds them: “We’re all going to be back.”
But this week, those inspiring words were painted over with another. Vandals painted more swastikas alongside the message: “Zionism is not welcome.” No arrests have been made in either instance, and it is unclear whether the same person was responsible for both incidents. LA County Supervisor Kathryn Barger has called on the county to offer a $20,000 reward for information on the culprit.
“There’s an increased feeling of vulnerability after the fire destroyed our home,” said Rabbi Josh Ratner, the synagogue’s senior leader. “To have any stuff happen after that compounds our vulnerability.”
Rising from the ashes
The stone wall abutting Altadena Boulevard was the only one on the complex that remained fully intact after the fire. But it didn’t become a symbol until after it was vandalized earlier this year, when passersby noticed on Jan. 13 that the charred stone wall had been tagged.
That graffiti read “F— Zionism” and “RIP Renee,” the latter message an apparent reference to Renee Nicole Good, an anti-ICE protester who had been killed the previous week in Minneapolis.
In response, synagogue leadership decided to cover it with art. Working with a local group called Art Against Hate, PJTC commissioned a muralist who invited synagogue members to contribute ideas — and recruited their children to help paint it.
The mural was sectioned like stained glass, with Stars of David in the corners and a border containing the animal symbols for the tribes of Israel. A peacock adorned one side — the birds have thrived in the area for more than a century — and while the children were painting it, one approached the scene, seemingly to admire it.
“It was for Altadena as much as the synagogue, and the neighbors appreciated it,” said Judy Callahan, a longtime PJTC member. “I think looking out and seeing it — they still see this vacant lot, but it just made things cheerier.”
Coming together
Many of those neighbors — and a phalanx of local officials — were on hand Thursday to condemn the latest graffiti and watch Miriam Hellmann, the muralist, apply the final touches for a second time.
Barger spoke, as did Pasadena Mayor Victor Gordo, U.S. Rep. Judy Chu and others. But just as important to the temple members in attendance were the locals who braved the scorching heat to embrace them.
After Ratner spoke, he invited the Rev. Amy Aitken to the podium. Aitken leads the First United Methodist Church of Pasadena, where PJTC has been holding their services for the last year.
After joking that most other Methodist churches don’t have a “campus rabbi” — that is, Ratner — she asked other clergy in attendance to stand up. Nearly a dozen did.
One of them was the Rev. Michael David Lewis of Altadena Community Church, who said he wanted to assure Jewish community members that he considered them family.
“When they are attacked, I want to stand shoulder-to-shoulder with them,” he said. “I want to stand against the hate that was expressed here and stand against the fear that was expressed here.”
Hellmann, who is not Jewish, said every muralist knows their work might get tagged — murals tend to be in prominent places, and vandals want their message to be seen.
But this target had broader resonance than other walls, or even other synagogues. “It’s not just about the Jewish community,” Hellmann said. “It was supposed to be a symbol of hope for a lot of people.”
When Hellmann first painted the mural, she applied a layer of anti-graffiti coating that prevents spray paint from bonding to the surface. But the graffiti was not cleaned off immediately, allowing it to set.
“I’ll keep repainting it every day if I need to,” Hellmann said.
This time, she added an olive branch, that ancient symbol of peace.
“I think that it’s important for non-Jewish people to stand with the Jewish community when there’s antisemitism,” she said. “So I’m happy to be a part of it. I think it’s a beautiful religion.”
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Columbia University student workers union drops Israel divestment demand
The student workers’ union at Columbia University has withdrawn its demand that the university divest from Israel — a significant reversal for the group, which has played a leading role in the campus’s pro-Palestinian movement since the start of the Israel-Hamas war.
Divestment had been one of the union’s signature demands, and a recurring point of contention throughout negotiations.
The union, Student Workers of Columbia–United Auto Workers, represents over 3,000 undergraduate and graduate student workers and had long campaigned for Columbia to cancel its dual degree program with Tel Aviv University, stop plans to open a new facility in Tel Aviv, and financially divest from Israel. The demand it withdrew this week would have mandated that the university divest from state actors or companies deemed by the International Criminal Court and the United Nations to be in violation of international law
But in a Monday general body meeting, union members voted to withdraw the divestment proposal.
Columbia became an epicenter for campus protests following the onset of the Israel-Hamas war, sparking a wave of encampments, building occupations and high-profile arrests. Its union’s leaders, in particular, had been heavily involved in pro-Palestinian activism. In 2024, the group passed a resolution supporting the Boycott, Divestment and Sanctions movement, and pledged to strike if necessary to force the university to “end its complicity in the genocide.”
Former PhD student Grant Miner was arrested for his role in the occupation of Hamilton Hall in 2024 and was subsequently expelled but still identifies himself as the union’s president.
Miner acknowledged the decision to withdraw the demand in an interview this week with the campus newspaper The Columbia Spectator, saying the give-and-take realities of collective bargaining had forced the union to adjust its demands.
“You start off a campaign with one thing, and then as you bargain, you have to face the realities of where you are,” he said.
Earlier this year, Columbia alleged the union did not bargain in good faith by “conditioning bargaining on the presence of an expelled student,” apparently referring to Miner. They also alleged the organization attempted to “bargain over matters that are not related to terms and conditions of students’ employment with the University; and filing grievances that similarly have nothing to do with terms and conditions of students’ employment.”
Indeed, the move appeared to reflect the realities of federal labor law. Under the National Labor Relations Act, employers and unions are required to bargain only over wages, hours and other terms and conditions of employment. Because university divestment is generally considered outside those mandatory subjects of bargaining, Columbia is not legally obligated to negotiate over it, though it could choose to do so voluntarily.
The union also softened on other contentious demands, dropping and significantly modifying its proposal to remove all police officers from campus and narrowing a surveillance-related demand.
In November, a university Advisory Committee on Socially Responsible Investing rejected three proposals filed by activists calling on Columbia to divest, citing a lack of financial viability and consensus on campus.
Columbia maintains its dual degree program with Tel Aviv University, and plans to open its Tel Aviv global center this summer, according to Nadav Eyal, a Columbia professor who spoke of the matter in an episode of the Call Me Back podcast this week.
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A Yiddish theater troupe condemned U.S. racism — then the Nazis came
In 1935, the experimental theater group Yung Teatr invited audiences in Warsaw to a new play that was virtually all in Yiddish but wasn’t about Europe or Jews. It was a modified retelling of the plight of the Scottsboro Boys, nine Black teenagers who were falsely accused of raping two white women in Tennessee in 1931. While the case was being retried in the United States for the second time, the three-act play Mississippi exposed Polish Jews to the injustice.
Penned by Yiddish writer Leib Malach, whose work as a journalist took him around the world including to Harlem, and directed by Michał Weichert, a trained lawyer with a love for avant-garde theater, Mississippi premiered in Warsaw in March 1935 at a time Yiddish culture in Poland was flourishing. Several troupes were staging translated works about American race relations, such as a Vilna Troupe production of Eugene O’Neill’s All God’s Chillun Got Wings, but scholars believe Mississippi was the first original Yiddish or Polish play on this issue to be performed in Poland.
Although it didn’t have the financial resources or popularity of traditional Yiddish productions, Mississippi had more than 100 performances in Warsaw and several in other Polish cities, where it was widely praised, as Jewish audiences identified with the mistreatment of the Scottsboro Boys. There is evidence of at least one production outside of Poland, all the way in Buenos Aires.
“Yiddish theater was much more given to a kind of transnational existence, probably more than any theater,” Alyssa Quint, a curator at YIVO and a co-editor of their translated Yiddish Voices series, said. “Because of all the communities, all the Jewish settlements that had been settled by that time were still really speaking Yiddish.”
Quint worked with scholars Ellen Perecman and Amelia Glaser to translate Mississippi into English for the first time and it has been published as a book with an introduction and notes from Quint.
Malach, who had been wanting to write a political play inspired by his time in America, made a few deviations from the real Scottsboro incident. In Mississippi, there are only seven Black defendants. Malach also invented characters to represent how the Black community and the boys’ family would react to the trial, although a mother of one of the accused is closely modeled after Ada Wright, the real-life mother of two of the Scottsboro boys who went on a European speaking tour about the case. White actors in blackface played the parts of the Black characters.
Acts Two and Three involve simultaneous actions on multiple small stages throughout the performance space, making Mississippi one the earliest examples of “immersive” or “environmental” theater.
“It’s experimental, but it was actually something that people flocked to as well,” Quint said. “That’s a very hard combination to strike even today, even under the best of circumstances.”
Because Poland’s censors had previously shuttered Weichert’s shows for being “politically provocative,” Yung Teatr left “Scottsboro” out of the title. Malach wrote that they chose Mississippi since it “is the name of a river along which reside communities of Black people, and it is also a state where ‘Scottsboro’ is a regular occurrence.”
Although few members of Yung Teatr had ever met a Black American, the play reads as a nuanced — if at times heavy-handed — investigation of the precarious position of Black people in American society.
The play also focuses a lot on class conflict, as Weichert thought it would make the story more accessible to Jewish audiences. While Weichert and Malach recognized the parallels between anti-Black discrimination in America and the antisemitism they experienced in Poland, Weichert wasn’t sure broader Jewish audiences would automatically sympathize with the Black characters. The communist-aligned Yung Teatr leaders also may have been hoping to inspire their Jewish audience to embrace class solidarity and at times, class seems to usurp race as the primary issue in the play.
One character, Shirley Silverstone, a Jewish labor activist who represents the real-life activists from the International Labor Defense that got involved in Scottsboro, argues that the case is really about “revealing the bloody intention of the ruling class to strangle us all.”
Mississippi offers a contrasting view in the form of Mickey, a Black Pullman train worker, who accosts Shirley for using the boys’ trial “for the benefit of your party” and playing “with the lives of the accused Negroes.”
“I think that you don’t really know where you necessarily stand or where the play stands,” Quint said.
The translation took several years. In 2020, as protests spread across the country in the wake of the killing of George Floyd, Quint saw a connection between her work and the present, which she said can be a rare experience in the Yiddish world.
“Often you’re in your little corner and you have to have a more indirect relationship with the spirit of your time, or none at all even,” Quint said. “But it seemed like there was something very relevant about this play when I began translating it.”
“People were getting more and more engaged with deeper questions about the Black experience here in America.”
When it came to translating the Yiddish word for the n-word, Perecman, Glaser, and Quint had to decide whether or not to include the original language.
“I felt strongly that since this was placed in the 30’s in the South, we needed to use the word,” Perecman said about the ultimate decision to have the slur in the play.
Both the transcultural and serious nature of Mississippi make it a standout piece of Yiddish theater history. Perecman said that many people have a narrow idea of what makes Yiddish theater, something she’s experienced firsthand running the New Worlds Theatre Project, which translates and stages early 20th century Yiddish plays.
“People would come and they’d say, ‘Oh my God, I thought Yiddish theater was all about singing and dancing,’” Perecman said.
There is music in Mississippi, but it’s jazz and gospel inspired numbers instead of Jewish folk tunes. The translators don’t know how much interaction the composer, Henkh (Henoch) Kon had with Black American music, but the lyrical structures, including a call-and-response gospel, show an intent to mimic what he imagined were traditional forms. YIVO plans to have music experts at a book launch event on Nov. 30 to analyze the lyrics and possibly put them to music.
In the post-Holocaust world, the play’s message about discrimination carries a sense of foreboding. Several of the actors and crew were murdered in the Holocaust. Weichert survived and made aliyah to Israel in 1958, where he died in 1967. Malach died in Paris in 1936 during an operation.
The Nazi invasion forced Yung Teatr to close in 1939 after only ten years of operating, but the troupe left a mark on Yiddish theater with their ambitious, unorthodox projects.
“There was just very, very little support for what they did,” Quint said. “They were just very devoted to what they did, and that’s what kept them going.”
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