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He saved dozens of kids in Auschwitz — he kept it a secret for nearly the rest of his life
Growing up in Israel as the daughter of Holocaust survivors, Judith Richter was taught not to discuss the Shoah. While her mother was very open about her experiences, Richter’s father was more reserved, and Israeli society at the time looked down on European Jews for, as they wrongly assumed, not fighting back. It wasn’t until Richter was an adult that she learned her father had played a critical role in protecting children at Auschwitz-Birkenau — a secret she gleaned not from her father himself but from an article on Josef Mengele in a LIFE magazine that her husband happened to spot in a grocery store.
Erno “Zvi” Spiegel was 29 years old when he was deported from Hungary to Auschwitz along with other members of his family, including his twin sister Magda. As a twin, Spiegel was selected to be a subject for Mengele’s scientific experiments, where he injected subjects with diseases and cancer cells to study their effects on the human body; due to their shared genetics, one twin could serve as a control for the experiment. If one died from the procedure and the other didn’t, the surviving twin would still be killed and subject to an autopsy to understand why they lived.
Mengele also charged Spiegel with looking after the other kids he was experimenting on, whose lives Spiegel would end up saving multiple times. The PBS documentary The Last Twins, directed by Perri Peltz and Matt O’Neill, captures the deep and unexpected relationship Spiegel had with his charges through interviews with the surviving sets of twins from Mengele’s lab along with Spiegel’s family. Uncle Spiegel, as the twins called him, was the only adult that many of the kids trusted during their imprisonment.
When SS physician Heinz Thilo ordered the extermination of all sets of twins, Spiegel was able to intervene by telling Mengele that his subjects were at risk. Sometimes siblings were mistakenly brought in as twins, but Spiegel lied about their birth days so they wouldn’t be sent to the gas chambers. Many recounted how he would teach them math and geography to distract them from their horrific conditions.
When she heard these stories for the first time, Richter told me, she was not surprised her father had put such an emphasis on education, even in the camps.
“My father taught me since I was very young that while your material possessions, home, even your freedom can be taken away from you, the single asset that cannot be taken away from you is your knowledge,” she said.
After Auschwitz was liberated, Spiegel led the kids on an arduous journey through Eastern Europe helping them return to their homes — or at least, to what was left of them.
Although Spiegel, who died in 1993, never told his own children what he had done during the war, he spoke with LIFE Magazine for their 1981 article on Mengele’s experiments. The LIFE piece didn’t just cause revelations for Spiegel’s family; one of the survivors, Peter Somogyi, saw the issue, prompting him to contact Spiegel. The two reunited for the first time in almost four decades in Boston, and after that, Spiegel arranged meetings with a number of the other surviving twins.
Richter began researching her father’s story and the lives of those he had saved for an academic project. However, when director Peltz’s mom, who had known Richter for years, connected the two women, Richter realized the importance of turning her father’s story into a movie.
Directors O’Neill and Peltz, who had previously worked together on the documentary Can’t Look Away: The Case Against Social Media, knew the project was time sensitive given how few living survivors are left. Since they first started shooting the film almost a decade ago, all but one of their interview subjects has died. O’Neill added that today’s political climate contributed to the urgency of getting the film to the public.
“At a time of rising antisemitism, of misinformation of the Holocaust,” O’Neill said, “it’s an essential time for journalistic work based entirely on indisputable truths to come out.”
Peltz noted that Spiegel’s heroism wasn’t embodied in one grand act, but “in the step by step, day by day.” Although Mengele’s horrific experiments get a brief mention, the filmmakers chose to focus on the uplifting story of how people came together and protected each other in the midst of tragedy.
“Right now, many of us feel overwhelmed by world events, by things that feel out of control,” O’Neill added. “This is a story of hope in a time of horror and of a man who took the small space that he could control and did good within it.”
In 2017, Richter organized a reunion of the survivors in Israel, where they dedicated a plaque to Spiegel and the twins in Jerusalem. Richter said her father’s strong sense of social responsibility had a profound effect on her life. She noted that in the homes of some Holocaust survivors, the “children grow up with a very strong sense of revenge.” Instead, her father taught her that the best response to hatred was to ask herself how she could help other people.
“Erno was a fighter in his own way,” O’Neill said. “He fought the Nazis by teaching the kids to call each other by their names. He fought the Nazis by teaching them geography. He fought the Nazis by giving them humanity in darkness.”
The Last Twins will be available to stream on pbs.org on April 13 and have a broadcast premiere on Monday, June 15 at 10/9c.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”