Showing posts with label Jews. Show all posts
Showing posts with label Jews. Show all posts

17 December 2025

The Tale of the Greatest Upset in Motorsports History

 

[Not long ago, I picked up a copy of the “Metropolitan” section of the Sunday New York Times of 30 November 2025 which I’d laid aside to read later.  In “Metropolitan Diary,” a weekly column in the Times that features short, reader-submitted stories about life in New York City, I was intrigued by the very first offering:

Snappy Driver

dear diary:

As an ad man in the 1960s, I used to regularly go to a restaurant called Le Chanteclair on East 49th Street between Fifth and Madison.

The place was adorned with car racing trophies and memorabilia, and the man who ran the front of the house was from France and always elegantly dressed.

Not long ago, I picked up a book at the library called “Faster: How a Jewish Driver, an American Heiress and a Legendary Car Beat Hitler’s Best.”

Turns out the elegant Frenchman at Le Chanteclair was René Dreyfus, the driver who beat Hitler’s best.

neil fox

[What attracted me was the reference to the Jewish race car driver who beat Hitler.  I had to look that up and find out more about René Dreyfus and what race or races he won against Nazi drivers.  (The online version is entitled “Metropolitan Diary: ‘It Was the Start of a Frosty Relationship.’”)  Here’s what I learned:]

In the book Faster: How a Jewish Driver, an American Heiress, and a Legendary Car Beat Hitler’s Best by Neal Bascomb (Mariner Books, 2020), the author recounts how French driver René Dreyfus and American heiress Lucy Schell's team (Écurie Bleue), driving a French-made Delahaye 145, beat the Nazi-backed German Silver Arrows (Silberpfeile) teams, whose drivers included the legendary Rudolf Caracciola, driving Mercedes-Benzes, in the 1938 Pau Grand Prix in a town of 78,600 in southern France, 31 miles (50 kilometers) from Spain.

(Écurie literally means ‘stable,’ referring to horses, and it can also refer to a ‘team’ of horses.  In motorsport, however, it can mean ‘team’; Écurie Bleue would be Team Blue.  In other instances of a sports or work team, the correct French word would be équipe.)

This victory was a significant morale boost for the French and a symbolic blow to the Nazis’ claims of Aryan supremacy, reportedly leading Hitler’s regime to attempt to erase all records of the race after their invasion of France in 1940.

René Albert Dreyfus (1905-93), according to Rodney Walkerley, a British reporter who covered motor sports, had “The Look—a stare of searing intensity and undying affection that lets you know, without a doubt, Dreyfus was put on Earth to drive cars fast” (exact source unknown).  Nick Donofrio, the New York Times researcher for Special Projects who reviewed Bascomb’s book, called him “a Max Baer of the asphalt, Jesse Owens on wheels” (“The Need for Speed,” New York Times Book Review 31 May 2020).  

(Walkerley (1905-82) wrote for Motor Sport from 1927 and The Light Car from 1930.  He also wrote several books, including Grand Prix 1934-1939 [1950] and Moments That Made Racing History [1959].)

A nearly fatal accident, and the loss of several friends on the circuit, destroyed Dreyfus’s confidence.  The crash, often cited as nearly ending his career, occurred on 14 April during the 1932 Grand Prix of Comminges in a privately-owned Bugatti.  Dreyfus hit a patch of road where another driver had just crashed in a downpour.  His car skidded, hit a tree, became airborne, and flipped, throwing him onto the road.  He was hospitalized with a severely injured shoulder and various cuts, but recovered to eventually join the Bugatti factory team.

Then, with the rise of fascism in Europe—Benito Mussolini (1883-1945), Duce of the Fascist Party, was appointed prime minister of Italy in 1922; António Salazar (1889-1970) became prime minister of Portugal, a quasi-fascist dictatorship, in 1932; Hitler (1889-1945), Führer of the Nazi Party, was elected chancellor [prime minister] of Germany in 1933; Francisco Franco (1892-1975), Caudillo of the Falangist Party, became prime minister of Spain in 1936—he was banned from competing with the best teams and the fastest cars—Maserati, Alfa Romeo, and Mercedes—because he was Jewish.  An unlikely partnership with an American race enthusiast and a floundering French auto manufacturer would see his faith in himself return. To beat the Hitler-supported Silver Arrows, however, Dreyfus would have to find reason, and purpose, to risk everything.  It’s a story of faith and redemption, set on the perilous stage of motorsport with a backdrop of Nazi arrogance.

Born in Paris, the only child of an American industrialist, Lucy O’Reilly Schell (1896-1952) could have spent her life in the luxury which the wealth of her family made possible.  Instead, she volunteered to be a nurse during World War I, and when peace broke, she turned to racing cars.  A skilled driver, she broke with convention to become a top Monte Carlo Rally driver.  

Hitler’s Silver Arrows (so-named for their burnished-aluminum bodies) on the rise, she sought a new challenge, namely toppling the Nazis from their perch atop motor racing.  She started her own Grand Prix team—the first, and only, woman to do so—then financed with her inherited millions the construction of a formula car from scratch.  She chose a down-on-its-luck French firm named Delahaye to build her car and selected René Dreyfus to be her champion.

After ascending to power, Adolf Hitler declared that Germany would soon reign supreme in Grand Prix motor racing.  Success there would prove the might and prowess of the Third Reich—and help spur the “cavalry of the future” (Kavallerie der Zukunft).  This Third Reich propaganda phrase was a reference to the National Socialist Motor Corps (Nationalsozialistisches Kraftfahrkorps, or NSKK). 

The NSKK was a paramilitary arm of the Nazi Party, conceived to train a host of men in driving and motoring skills, establishing the foundation of a mechanized army.  The organization was very effective in providing manpower for the Wehrmacht’s motorized infantry divisions.  

Hitler envisioned the NSKK units, mounted on motorcycles and in motor vehicles, as a highly mobile, spearhead force, ideal for reconnaissance and fast deployment, fulfilling the traditional light cavalry missions of scouting and quickly positioning troops, but with the speed and technology of motorization rather than horses.  Tanks and other armored vehicles were already fulfilling the traditional heavy cavalry role of shock troops.

Toward this end, the German war machine spurred—and subsidized—the German automotive industry to develop and manufacture the highest quality vehicles possible, and domination of motorsport was the first test of that capacity.  Also integral in Hitler’s plan for a “motorized Germany” was building a nationwide highway system (the Autobahns) and putting every German family in its own automobile (the Volkswagen, or “People’s Car”).

To accomplish this scheme, the Führer funneled millions to Daimler-Benz and Auto Union, the two lead auto manufacturers, who then recruited their country’s best drivers to the task of victory.  Foremost among them was Remagen-born Otto Wilhelm Rudolf Caracciola (1901-59).  

Although an unflappable race driver, Caracciola had a killer instinct that had made him the top racer in the world.  Matched with the Silver Arrow race cars built by Mercedes, he was all but unstoppable year after year, winning three European championships between 1935 and 1938.  He became the standard-bearer of Nazi dominance of the Grand Prix, raising his arm in a Nazi salute after each win and featuring in Reich propaganda that labeled its drivers, “swift as greyhounds, tough as leather, strong as Krupp steel.”  He was the perfect rival for René Dreyfus.

They were the unlikeliest of heroes. René Dreyfus, a former top driver on the international racecar circuit, had been banned from the best European teams—and fastest cars—by the mid-1930s because of his Jewish heritage.  Charles Weiffenbach (1870-1959), head of the down-on-its-luck automaker Delahaye (1894-1954), was desperately trying to save his company as the world teetered toward the brink.  And Lucy Schell, the adventurous daughter of an American multi-millionaire, whose fortune came from the construction business and subsequent industrial investments, yearned to reclaim the glory of her rally-driving days.  ($1 million in 1938 would be worth $23 million today.

As Nazi Germany, with its obsession with fast cars and Hitler’s plans to motorize Germany’s civilian population as well as its Wehrmacht, launched its campaign of racial terror and pushed the world toward war, these three misfits banded together to challenge Hitler’s dominance at the apex of motorsport: the Grand Prix.  Their quest for redemption culminated in a remarkable race that is still talked about in racing circles to this day—but which, soon after it ended, Hitler attempted to completely erase from history.

Bringing to life this glamorous era and the sport that defined it, Faster chronicles one of the most inspiring, death-defying upsets of all time: a symbolic blow against the Nazis during one of history’s darkest hours.  In the opening race of the 1938 season on 10 April—the Anschluß, the annexation of Austria into the Third Reich, had been just 25 days earlier, on 12 March—Dreyfus drove the Delahaye to a shocking upset of Caracciola and Mercedes in the Pau Grand Prix. 

The race (as recorded on The Golden Era of Grand Prix Racing):

[Rudi] Caracciola took the lead of the race followed by [René] Dreyfus, [Maurice] Trintignant [French; 1917-2005], [Dioscoride] Lanza [Italian; 1898-1977], [Gianfranco] Comotti [Italian; 1906-63], “Raph” [Georges Raphaël Béthenod de Montbressieux (Argentinian-born French; 1910-94)] and Matra [Yves “Yves-Marie” Martin (French; 1911-84)].  On the twisty Pau street track Dreyfus was able to keep pace with the leader and actually pass.  Caracciola re-passed but by now the Mercedes team must have known what would happen.  The fuel consumption of the Delahaye was about half of that of the supercharged Mercedes cars and the track had become slippery from oil and rubber making it impossible for Caracciola to use the power advantage of the Mercedes-Benz.  With half of the race gone Caracciola came into the pits for fuel.  The braking and gear changing on the Pau track had got Caracciola's old leg injury to make itself known and he gave over the car to [Hermann] Lang [German; 1909-87].  Dreyfus took over the lead never to be challenged again as he was running on a nonstop strategy.  Lang’s car developed plug trouble but it is unlikely that the Mercedes team would have won that day even with a healthy car.  The team had to admit that they had been beaten squarely and fairly.  So Dreyfus went on to a sensational victory, taking the flag almost 2 minutes in front of Lang.  Comotti was third in the other Delahaye followed by “Raph”’s Maserati.

(Caracciola had suffered a life-altering leg injury during a practice run for the 1933 Monaco Grand Prix.  Driving an Alfa Romeo for his own privately owned team and car [i.e., not an official, factory-backed team], a brake failure caused him to crash violently into a stone wall at a turn.  The crash resulted in multiple fractures to his right thigh and hip, and he spent six months in a plaster cast from the waist down and was confined to a wheelchair.  His doctors initially told him he’d never race again. 

(Despite the disability, Caracciola returned to win three European Championships [1935, 1937, 1938].  However, the old injury continued to plague him.  His right leg healed roughly two inches (five centimeters) shorter than his left, leaving him with a lifelong limp.  At Pau, the physical toll on his weakened leg of braking and changing gears forced him to hand over his car to a teammate.)

That year, Dreyfus was named the Race Champion of France.

Dreyfus had won the Grand Prix of Monaco in 1930; from 1925 to 1950, he’d become an international race driver of such excellence that he was awarded the Legion of Honor by President Charles de Gaulle (1890-1970; President of the French Republic: 1959-69) in the early 1960’s. 

In 1940, Dreyfus came to the United States on special leave from the French Army, which he’d joined as a truck driver when the war started, to drive for France in the Indianapolis 500.  He placed 10th in the race.  He didn’t return to France after the race, but joined the U.S. Army in 1942, after Germany invaded France two years earlier, serving as an interrogator in the Italian campaign.  He later brought his family to the United States and became a citizen in 1945, after World War II.

He founded Le Chanteclair at 18 East 49th Street off Madison Avenue (Manhattan’s Midtown East) in 1952 and for 25 years was one of the more popular dining locales for international auto racers.  The restaurant had the ambience of urban sophistication combined with the warmth of a French country inn.  

Dreyfus and his brother Maurice (1904-94), who ran the front of the house, were known for greeting patrons warmly and remembering their names, making everyone feel like an old friend.  The restaurant served classic and haute French cuisine and was well-regarded for its traditional French repertoire and extensive wine cellar. 

Le Chanteclair closed in the mid-1970s.  René Dreyfus, who was born in Nice, died at 88 of an aortic aneurysm at New York Hospital in Manhattan.  In 1983, he published a memoir, My Two Lives: Race Driver to Restaurateur by René Dreyfus and Beverly R. Kimes (Aztex Corp).


07 December 2025

Tom Stoppard Remembered, Part 2

 

[This is the conclusion to my small tribute to Tom Stoppard, the wonderful British playwright who died on 29 November at the age of 88.  If you haven’t read Part 1 of “Tom Stoppard Remembered,” published on  3 December, I recommend that you turn back and do so now before reading Part 2, below.

[This installment consists of just one piece of writing, an autobiographical essay Stoppard wrote in 1999 about his discovery of his Jewish roots, kept hidden from him until he was in his 50’s.  As you’ll read, it had a profound effect on him, and eventually led to his writing his last play, Leopoldstadt, in 2020.]

“TOM STOPPARD: ON TURNING OUT TO BE JEWISH”

["On Turning Out to Be Jewish" is the title of a widely-read autobiographical essay originally written by Tom Stoppard and published in the inaugural September 1999 issue (vol. 1, no. 1) of Tina Brown's Talk magazine (which ceased publication in February 2002).  In the essay, Stoppard recounts his surprise discovery through contact with distant Czech relatives in the mid-1990s that he and his parents were fully Jewish, a fact that had been suppressed by his family after they fled Czechoslovakia during the Nazi era.   

[The playwright’s mother had avoided discussing the family’s Jewish roots, only confirming details after Stoppard began asking more questions following her death at 85 in October 1996.  Stoppard, who was born Tomáš Sträussler in 1937 in Zlín, Czechoslovakia, learned that all four of his grandparents were Jewish and had perished in Nazi concentration camps, including Auschwitz and Terezín.

[Stoppard describes his prior self-professed “almost willful purblindness” about his heritage and his regret for not questioning his mother further during her lifetime.  He wrote of feeling “no more Jewish than I felt Czech” after the revelation, but the discovery prompted him to reckon with his family's history, which later inspired his play Leopoldstadt, his final work for the stage, which explores Jewish assimilation, loss, and identity.

[I haven’t had time since I put together this tribute to Stoppard to get to a library that might have a paper or microfilm copy of the issue of Talk with the dramatist’s essay, and there’s apparently no online version.  This publication from The Huntington, the program guide and occasional online outlet of the Huntington Theatre Company (Boston, Massachusetts), appears to be a republication of Stoppard’s essay.

[The Huntington’s “Tom Stoppard: On Turning Out to be Jewish” was posted on 11 September 2024, 25 years after the Talk publication.  The essay was republished in support of the Huntington Theatre Company’s staging of Leopoldstadt, Stoppard’s last play which was inspired by his discovery of his lost heritage.  The production ran ftrom 12 September to 13 October 2024 and was produced in association with Washington, D.C.’s Shakespeare Theatre Company (which ran the show from 30 November to 29 December 2024).

[On 22 October 2022, I posted a collection of articles on and reviews of Leopoldstadt on Rick On Theater as “Tom Stoppard & Leopoldstadt.”  On 26 December 2022, I published “Tom Stoppard” by my friend Kirk Woodward, accompanied by a report by Dick Brennan of WCBS-TV, who talked about the play and the playwright with Brandon Uranowitz, the 2023 Tony-winner for the Best Performance by an Actor in a Featured Role in a Play for his work in the Broadway production of Leopoldstadt.]

Here, now – here and now in this room in the only country that is my country and among books in the only language I can remember speaking – the English writer who is myself considers the Czech family Beck in 1908. There are seven of them. Dressed up for the studio photographer: Rudolf and Regina, my maternal grandparents: my future aunties Wilma, Berta, Anny, and Irma: and their little brother Ota in his sailor top. They stare back across 90 years of war and peace and war and peace. This is a photograph we have seen countless times, each time different, the family group who never made it together through the Holocaust. 

My table is covered with old photographs newly acquired from Wilma’s son and from Berta’s grandson. Here are the Beck children again, a few years older, in front of the same backdrop. There is a fifth girl now. The new sister, from her scuffed boots to her clapped-on bonnet, is a heartbreaker. She is pushing palms-down with her clasped hands as though literally holding herself still. She is trying not to smile and not quite succeeding. This is my mother, Martha, in 1914, age three. 

Privately, I always hesitate over the word Holocaust – a headline writer’s word for an act too actual for trope, too vast and monstrous for summation. But until quite recently it didn’t seem to be my place to jib at it. 

When my mother was in her sixties I asked her to write down as much as she could remember about her life before I could remember it for myself. I sent her a leatherbound notebook as an incentive, which was a misjudgment. She sent it back years later, unmarked (“It seems a waste”), and instead filled a few pages in a cheap exercise book. 

The move to England, she wrote, had been so sudden, unplanned, an[d] drastic that I – perhaps subconsciously – decided the only thing to make it possible to live and truly settle down (I mean the three of us [Stoppard seems to be referring to his older brother Petr, who later became Peter]) was to draw a blind over my past life and start so to speak from scratch. Whether this was realistic or possible I don’t know. I mean whether it was the right thing to do. 

Her little memoir does not raise the blind very far. My mother wrote it when she was 70 in 1981, which happened to be the year Ota, the boy in the sailor top, died. There is no mention of this brother, and I did not learn of his existence until later. As to the names or number of her sisters, or what happened to them, the memoir is equally uninformative. She writes about family life before and after her marriage and about my father. She describes her parents and my father’s parents but does not say when or where or how they died. The word Jew or Jewish does not occur. 

~

When I was born, in July 1937 in Zlin, a small town in Moravia, Czechoslovakia, my name was Tomas Straussler – Tomik to my mother and father. We left Czechoslovakia – my parents, my brother Petr, and I – when the German army moved in [16 March 1938]. By the time I understood that there was a connection between these two events I was an English schoolboy, Stoppard Two at prep school (Peter being Stoppard One), Tommy at home. 

[Of the three historical regions of what became Czechoslovakia in 1918 (after World War I, when the Austro-Hungarian Empire was dissolved), Moravia is the second largest and was in the middle of the newly formed nation. (The other two historical regions are Bohemia and Czech Silesia [so named because parts of Silesia are in Poland and Germany].) As a province, it was named Moravia-Silesia; it now forms the eastern end of the Czech Republic, though it is no longer a province (země or ‘land’). It has a significant German-speaking population.

[Stoppard’s family name at birth was actually Sträussler (pronounced stroy-sler) because they were Czechs of German descent. His father’s given name was Eugen (oy-ghen), the German form of Eugene, not Evžen (ev-zhen), the Czech name.]

So we were Jewish? My mother would give a little frown and go “Tsk!” in her way and say, “Oh, if anyone had a Jewish grandparent at that time . . .” 

I believe I understand her “Tsk!” It was less to do with denial than irritation. To ask the question was to accept the estimation put on it not by her but by the Germans. She had no sense of racial identity and no religious beliefs. Of course there were Jews in Zlin, she said, but they were proper Jews who wore black hats and went to the synagogue and the rest of it, Jews who were Jewish. 

During the last 18 months of her life – I did not know this then – my mother corresponded with a researcher in Zlin, Dr. Emil Máčel [chronicler of Jewish life in Zlín], who was trying to put together the almost forgotten story of the Bata Jews. Zlin was the world headquarters of the Bata shoe company, and my father was a doctor at the company hospital. “In Czechoslovakia,” my mother wrote (in Czech) to Emil, “there were so many mixed marriages that the matter lost importance. In my family the ratio was about 50-50. Three nephews and one niece lived in Bohemia, three generations in a modest Catholic environment.” 

[At the time the Sträusslers lived in Czechoslovakia, Bohemia was the westernmost province (země or ‘land’) of the country. Formerly a sovereign principality, it was the largest and most populous province of Czechoslovakia; the national capital, Prague, was in Bohemia. It has a large and influential German-speaking minority. (In today’s Czech Republic [Czechia], Bohemia is no longer a separate administrative district, but it remains a significant historical region.]

As I understand it, if l do, “being Jewish” didn’t figure in her life until it disrupted it, and then it set her on a course of displacement, chaos, bereavement, and – finally – sanctuary in a foreign country, England, thankful at least that her boys were now safe. Hitler made her Jewish in 1939. By the spring, comfortably before the European war started, all that was behind her, literally: We embarked at Genoa [Italy] for Singapore [a British colony until the Japanese invasion in 1942], in good time for the Japanese onslaught. 

For the Japanese were a different story. They killed my father and did their best to sink the ship that got the rest of us to India, but it wasn’t personal, we weren’t on a list, it was simply the war and being in the wrong place at the wrong time.

My mother remarried in India in November 1945 and died in Devon in the west of England in October 1996, age 85, of cancer. The last words she spoke – in the front passenger seat of my car when we were taking her to the hospital – were (crossly), “And Tom hasn’t got any sweets!” She persisted in the idea that sweets in the car were a surety against the likelihood of my falling asleep at the wheel on my journeys back to London. I was 59. 

~

My stepfather, formerly Major Kenneth Stoppard of the British army in India, believed with Cecil Rhodes [1853-1902; British mining magnate and Prime Minister of the Cape Colony (roughly half of British South Africa’s land area centered on Cape Town), 1890-96] that to be born an Englishman was to have drawn first prize in the lottery of life, and I doubt that even Rhodes, the Empire builder who lent his name to Rhodesia, believed it as utterly as Ken. Ken’s utopia would have been populated by landed gentry, honest yeomen, and Gurkhas [members of the dominant ethnic group in Nepal]. When my mother had just died, the words that came to him were “She was a very gallant lady,” a formulation dating from Kipling’s hill stations and the officers’ mess. He was already ill himself, and he died nine months later, by which time his Raj-nurtured sense of superiority over what [Rudyard] Kipling [1865-1936; English journalist, writer, and poet] called the lesser breeds had long since festered into a bile against Jews, blacks, Irish, Yanks, foreigners in general, and the urban working class. (Homosexuals were hardly mentioned because they were hardly mentionable.) He was an unlikely personality to have married a Czechoslovakian Jewess with two children. But marry her he did, and brought us to England four years to the day after we landed in Bombay. “Don’t you realize,” he once reproached me when, at the age of nine, I innocently referred to my “real father,” “don’t you realize that I made you British?” 

Ken was one of the very few Englishmen my mother had known before she got here, so perhaps it’s not surprising that she thought Peter and I would be given a hard time at school and in English life if we were to start off as foreign Jews. As it turned out she was quite wrong, at least about the schools we went to. 

She herself remained engagingly foreign, keeping her accent and making us plum dumplings powdered with cinnamon and delicious jam-filled buns called buchti that often found their way into the parcels of “tuck” [British slang, mostly among children, for ‘snack food’] she sent to us at school. Her tuck parcels were misshapen triple-wrapped double-trussed Kellogg’s boxes overstuffed with things she thought were good for you, like glucose tablets and dried fruit, to offset the quantity of things that were definitely not. 

She had a third son, Richard, in 1949, and a daughter, Fiona, in 1955. Her concern for the good health of her children on the one hand and of the rest of mankind on the other weighed about equal, even when we were grown up with children of our own. 

When we came to visit, she’d see us off by pushing bags of toffees and homemade rock cakes [small traditional British dried-fruit-filled cake or bun with a rough, uneven surface that resembles a rock] and the occasional scarf, pair of gloves, or piece of crockery at us, at the last moment rushing back into the house for a bag of prunes but alas forgetting the fruitcake, which she would lament when we phoned in to report that we’d survived the journey home.

But for every homemade cake and knickknack she gave out, my mother held back much more, whole histories. 

~

Some things I knew. Auntie Irma had married and gone to live in Argentina well before the war. The two sisters wrote to each other regularly until Irma died in 1995. I remember her. In 1948 or thereabouts, Irma came over to visit us. She and my mother spoke rapid emotional Czech while Peter and I bore up under Irma’s tears and kisses. 

Nor was it any secret that we had family in Czechoslovakia. Letters in Czech, photographs, and Christmas cards were occasionally exchanged, but as time went on the signal died. I was busy being English and seldom thought about these mysterious distant relatives.

One of them, I discovered when I read my mother’s memoir, was my father’s sister: After a while I had the feeling she did not want any letters from here. Her husband became a Judge of the People’s Court, whatever that means, and of course I never wrote again. It was safer not to, as not to embarrass him. 

That was the other thing. Having relatives “in the West” was not good in communist Czechoslovakia. When newspapers began referring to my Czech background, my mother would become cross and fretful. “Why do they harp on about that? It’s got nothing to do with your life now. Can’t you stop them?” 

But there came the day when the communists fell and the blind went up. 

I was in Czechoslovakia, President [Václav] Havel’s Czechoslovakia, for a PEN conference [PEN International, a worldwide association of writers founded to promote friendship and intellectual co-operation among writers]. Returning very late from Pilsen to my hotel in Prague, I found a young man waiting for me in the lobby. I learned later that he had traveled from his home in another town and had been waiting in the lobby for several hours. He had read in a newspaper that I was coming to Prague. It was now about two in the morning. He couldn’t speak much English, and I couldn’t work out what he was trying to tell me. He had an old photograph album that he put on the hotel counter and opened. There was a photograph of me and my brother Peter with the family spaniel in the garden of our first house in England. 

[Havel (1936-2011) was a Czech statesman, author, poet, playwright, and dissident. He served as the last president of Czechoslovakia from 1989 until 1992, prior to the dissolution of Czechoslovakia on 31 December, before he became the first president of the Czech Republic from 1993 to 2003. Havel was the first democratically elected president of either country after the fall of communism on 10 December 1989.]

Alexandr, I discovered, was the grandson of my mother’s sister Berta. There were many photographs, including that one of the Beck children in 1914, and – even more astonishing to me – Martha in 1927, age 16, a flapper in beads, slave bracelet, Charleston shoes, and party dress, looking amazingly pretty; and again in 1930, almost glamorous, with carefully plucked eyebrows and a fur-collared coat. The fact that my mother was beautiful had escaped me, and the realization was shocking – and then touching, when I saw that the dress had obviously been run up at home and the coat was a poor girl’s best. She is wearing the coat again in cold weather in 1931, on a park bench with Wilma and Wilma’s sons Jaroslav and Milan near trees and water among the buildings of the Baca hospital. 

By this time, 1994, I knew that my mother had started life with four older sisters and an older brother. I knew their names and I knew how Wilma, Berta, and Anny had died. The person who had told me was the daughter of one of the boys in the photograph on the park bench: Wilma’s granddaughter Sarka. 

The year before, Sarka had written to my mother from Germany, where she now lived, proposing to visit her in Devon, and my mother (I can see it all) had slightly panicked because Ken would not have been receptive to this sort of thing and could not be relied on to behave gracefully. So we met in London, in the restaurant of the National Theatre, where I was working that day: my mother, my sister (half-sister, but I never call her that), my sister’s little girl, and Sarka and I, who was Sarka’s father’s cousin. 

After a while, at one end of a long table cluttered with the remains of the meal, I got into a tête-à-tête with Sarka. She wrote down the family tree of my mother’s generation on a sheet of foolscap [paper of 8 × 13 inches (203 × 330 mm)], which she turned sideways to get them all in. This was the first time, at least in my memory, that my Czech family had been given names and relationships, and I was conscious that my English family, myself not least, must be looking distinctly odd to Sarka. It was a little embarrassing, even shameful, and I immediately made it worse. 

“Sarka, were we Jewish?” 

“What do you mean?” 

I adjusted. 

“I mean, how Jewish were we?” 

“You were Jewish.” 

“Yes, I know we were Jewish, my father’s family . . .” 

“You were completely Jewish.” 

I looked at the family tree. I went left to right. 

“What happened to Wilma?” 

“She died in Auschwitz.” 

“Berta?” 

“Auschwitz.” 

“Anny?” 

“She died in a different camp. I don’t know where.” 

“Ota?” 

“He survived.” 

Irma was dying in Argentina, nearly 90, a widow and childless. Martha, the youngest, was busy with my sister and my niece at the far end of the table. 

My grandparents all died at the hands of the Germans. My father’s parents, Julius and Hildegard Straussler, were part of a “transport” of Moravian Jews taken to Terezin, in Bohemia in northern Czechoslovakia, where they arrived on December 2, 1941. On January 9, 1942, they were among 112 prisoners transported “to the East,” to Riga in Latvia. This is the recorded date of their deaths because it is the last fact known about them. 

[There are two posts on ROT about the Terezin (aka: Theresienstadt) Concentration Camp: “’Performing for Survival – Cultural Life and the Theatre in Terezin‘” by Bahar Akpinar (7 March 2022) and “The Last Cyclist (2 and 5 September 2022). A personal note: both my paternal grandparents were from German Jewish families from Eastern Europe and emigrated to the U.S. as children at the turn of the 20th century. My grandfather was born in the Ukraine when it was part of the Russian Empire, but my grandmother came from Riga, Latvia (also part of Imperial Russia).]

Rudolf and Regina Beck, my mother’s parents, were also transported to Terezin, and died there, in July and April 1944, while we were in India – Peter and I at school, my mother in charge of the Baca shoeshop in Darjeeling. 

~

From a few paces’ distance, the interior walls of the 15th-century Pinkas Synagogue in Prague seem to shimmer with tracery tight as knitting. But it’s not tracery, it’s names – the nearly 80,000 Bohemian and Moravian Jewish victims of the Nazis. I am here with Sarka and her father, Jaroslav. They have been here before. We three find the names again, the Strausslers and the Becks. Anny, I tell Sarka, died at Riga, on January 9, 1942, as far as anyone knows – the same place and date as my father’s parents. (I’m the one with the information now. A year earlier Peter and I had returned to Zlin for the first time, to meet Dr. Emil Máčel, my source.) Anny was the sister who never married. Wilma, the eldest, and Berta, the next eldest married gentiles, but that had not saved them. 

Jaroslav and I were meeting today for the first time since I was in my pram. Jaroslav was 16 then. He remembered that he took two-year-old Petr for a walk, holding him by the hand. Petr had a runny nose; Jaroslav wiped it for him. After leaving the Pinkas Synagogue, Sarka and Jaroslav took me to the station for the train to Zlin, three or four hours to the southeast. 

On the train with me I had a fold-out gazetteer of “Jewish Monuments in Moravia and Silesia.” Zlin merited only three lines and two items of interest: There was a small Jewish section in one of the cemeteries, and it was the birthplace of the English playwright Tom Stoppard, “in proper name Tomas Straussler (born 1937).” 

~

All my life I have been told that I “take after my mother,” whatever that is supposed to mean, and now it does appear to mean more than a compliment. In August 1968, when the armies of the Warsaw Pact [the Warsaw Treaty Organization, a military alliance of the Soviet Bloc nations to counterbalance NATO, 1955-91] put down the movement for reform in Czechoslovakia [the Prague Spring, 5 January-21 August], my then wife was firstly incredulous and secondly infuriated that I didn’t get worked up about it as a Czech. It was true. I had no special feeling other than the general English one of impotent condemnation, tinged with that complacency one feels when the ogres of one’s personal demonology behave true to form. I knew I was – used to be Czech, but I didn’t feel Czech. That year I had some money for the first time, and I was buying first editions of Jane Austen, Charles Dickens, and Evelyn Waugh and beginning to collect 19th-century English landscape watercolors in a thatched cottage in a commuter-belt mock-up of rural England. I felt about as English as you could get. 

Even when, in 1977, I made my first return to Czechoslovakia, I felt no identification at all. Everything – the landscape, the architecture – looked interestingly foreign. My purpose was to write about human rights, and I could as well have been in Poland or Hungary. Indeed there was something slightly irritating about the way newspapers then and later would call up to ask for a quote or an article about Czech affairs – of which I usually knew little – as though I were a Czech expert. 

Earlier that year I had been to Moscow and Leningrad on another human rights story, the imprisonment in psychiatric hospitals of Jews who applied for exit visas to Israel [“refuseniks”]. I continued to write about this persecution and sometimes to speak from platforms, finally in 1986 organizing a 24-hour “event” in London, for which I recruited scores of notables (Senator Bill Bradley [b. 1943; American Democratic politician and former professional basketball player; U.S. Senator from New Jersey: 1979-97; unsuccessful candidate for the 2000 Democratic presidential nomination] flew over specially). As a result I received letters thanking me as a Jew, and I remember that once or twice, feeling obscurely that I was receiving credit under false pretenses, I replied that I was not Jewish or at any rate not really Jewish. I had become habituated to the unexamined idea that although – obviously – there was some Jewish blood in me (my father’s father’s?), enough to make me more interesting to myself and to have risked attention from the Nazis, it was not really enough to connect me with the Jews who died in the camps and those who didn’t. 

This almost willful purblindness, a rarely disturbed absence of curiosity combined with an endless willingness not to disturb my mother by questioning her, even after – no, especially after – our meeting with Sarka, comes back to me now in the form of self-reproach, not helped by my current state of mind now that I’m Jewish. I feel no more Jewish than I felt Czech when, 22 years ago, I went to Prague for a week to do my English bit for Charter 77.

[Charter 77 was an informal civic initiative in the Czechoslovak Socialist Republic from 1976 to 1992, named after the document Charter 77 from January 1977. The Charter criticized the government for failing to implement the human rights provisions of a number of international documents it had signed. Despite explicit rejection of “oppositional political activity,” the Charter was declared illegal and the government launched retaliation against its supporters and signatories.] 

Moreover, unlike my attitude toward the Czechness of things, which always had the neutrality of disinterest, I am definitely uneasy with Jewish orthodoxy, which I do not exempt from the general unease I feel with all manifestations of exclusive ritual and heightened religiosity – bleeding Christs, Hindu temples, Mormons, Jehovah’s Witnesses, etcetera. And another thing. Before I was Jewish my attitude toward Israel teetered between admiration and a disquieting sense that the Palestinians were paying for the Allies’ conscience about what the Germans did – picking up the bill for the Nazis, in fact – and now that I’m Jewish I have the same disquiet. 

My friend Manny Azenberg [Emanuel Azenberg (b. 1934); American theater producer and general manager] in New York has been asking me for years to go with him to Israel. I’ve never had the time (that is, of course, enough interest to make the time) and now I have the odd sense of its being too late. I don’t want to be claimed as if I’ve turned into someone else. This is why I think I understand my mother going “Tsk!” But we shall see. Until a couple of years ago I never had any interest in going back to Zlin. 

~

Zlin, 15.11.97 

Dear Sir, 

When studying the archives of the Bata Company in Zlin I found a personal file of your father Mr. Eugen Straussler M.D. who lost his life in Singapore when his ship was sunk by Japanese bombers in 1942. 

In this file is perhaps the only preserved photograph of your father. I sent your mother a copy of the file. I would like to mention that I exchanged letters with your mother for about two years, but for one year I did not hear from her. In her last letter she wrote she was ill and since then I am without news about further life . . .

My mother had been dead for 13 months when Emil Máčel introduced himself by letter. 

My brother Peter and I went to Zlin to meet Emil in May last year, 59 years after we’d got out. Neither of us had any memory of being there. We found our family home, a brick cube with its own garden, one of scores of similar houses built by Bata in a grid of leafy streets not far from the hospital. My parents moved into it in July 1934, a month after they were married. 

From my mother’s notebook memoir: 

When I left school I took a secretarial course and like everyone else joined the Finn [sic: this is probably an error and should read “the Firm,” referring to the Bata shoe company, a major employer in Zlin]. After I started working, I must have been 18 then, life became less restricted. I started skiing and going to dances (with my mother sitting there). On one ski trip – away day only – and without my mother! – a young doctor from the hospital invited me to a dance there, and that’s where I met your father, who was still studying but working there during vacations. He was one of a group of students from various universities . . . 

I was saving like mad knowing we will be poor to start with. Continental custom is very different. The man does not (or does not have to) provide a thing. In most cases men expect and get a dowry. Money. And to marry a girl without money is heroic. Well, he was and he did . . .

The next five years were blissful. We must have had our ups and downs but as always one only remembers the good times. Just as well. 

Your father was perhaps not handsome in the conventional way, he was very intelligent, had great charm (I was always fighting off the nurses!) and had a first class brain, but was very modest. His integrity was total. Everyone in the hospital liked him – the staff and the patients. I don’t want to sound too fulsome but this is how I remember him and when I die there won’t be anyone left to say what kind of a person he was. What he would have finally achieved one can only guess. He had no intention of going into general practice and was well on the way to becoming a heart and lung specialist. 

In my mind I always knew what my father looked like, and my memory of him is supported by (or perhaps consists in) a few tiny snapshots. The Bara [sic: Bata] archive adds a few dispassionate touches to the portrait. His letter of employment in February 1932 promises him board and lodging at the hospital and 200 crowns per week (there were 140 crowns in an English pound). His personal property was “nil,” his savings were “nil,” his debts were “nil,” the money he had to tide him over till his first payday was “nil.” He had been recruited by the head of the Ba[t]a hospital, Dr. Albert. 

Germany annexed Austria in March 1938, and in September the disputed Czech territory of Sudetenland was ceded to Hitler. On September 19, my mother (who in her memoir wrote I have no recollection of any special holidays and I am sure we did not go abroad) was issued her first passport. 

In February 1939 she received 30 English pounds from the Firm – “Mrs. Straussler is going with her husband, who will stay in Singapore for at least three years.” 

On March 14, the company’s “Social and Health Institute” reported that Dr. Straussler and family were fit for the tropics. 

In April this year [1999, when Stoppard originally wrote this essay], the 96-year-old widow of Dr. Albert, chief of the Bata hospital, receives me in her flat in Prague, with her two daughters, Senta and Zaria. She is telling me what happened on March 14, 1939. Very early in the morning, Dr. Albert got a phone call from the Ba[t]a directorship to tell him that the German army had crossed the frontier. He then got on the phone himself and called the Jewish doctors to his house. “My husband said, ‘You have to get out, right now.’” Bata had factories and offices in many countries, and the Jewish doctors (Emil believes there were 15) were assigned to places where they’d be out of danger. Mrs. Albertova shows me a photograph. “This is the room where they met.” Most of the photograph is occupied by a bookcase, which I realize is also in the room I’m sitting in. Her younger daughter Zaria was only six years old but she remembers the meeting: “Afterward the room was full of smoke.” 

All three remember Dr. Straussler. The two “girls” tell me he was considered the nicest of the young doctors, the one they asked to have when they had measles and other childhood illnesses. “When Dr. Straussler talked to us we knew everything would be all right.” It seems, too, that among Dr. Albert’s young assistant physicians, Dr. Straussler was the highflier, the chief’s favorite. “When there was a problem, my husband would send for him and tell him, ‘You sort it.'” 

When Zaria was very young she put her hand through a glass pane and cut it. Dr. Straussler stitched the cut. Zaria holds out her hand, which still shows the mark. I touch it. In that moment I am surprised by grief, a small catching-up of all the grief I owe. I have nothing that came from my father, nothing he owned or touched, but here is his trace, a small scar.

Your father chose Singapore. It was all marvelous in the beginning. I liked the heat, the exotic fruit, the food, and the local people. You had a perfectly sweet Malayan ayah [South Asian female servant or nanny, usually one working for a European family] who pushed you and Peter around in a double cane pushchair and tried hard to speak Czech to you. She Would say, “Oh, don’t cry!” or “Hurry up – bathtime!” It was her party piece and she loved you both. Later you both went every morning in a rickshaw to a kindergarten. 

We lived in a small house belonging to a Dutch shipping company or KLM, can’t remember. The house was for temporary occupation and we had just started looking at houses nearer the sea when war broke out. Even now I can’t write about it all. We were not panicking and we were together but like for everyone else it was traumatic. By the middle of January, a lot of women and children left because they wanted to but by the end of the month all women and children were evacuated. I stayed as long as I could, specially as I did not want to go on my own to Australia. Hoping that we might all go eventually. It just did not work out and the last few days were chaotic, boats, days, and times always being changed. The journey from Singapore was pretty dreadful. We were bombed just about everywhere. In the harbour, standing three days just off Singapore, then on the way to Australia, then turned back to Singapore and finally to India. 

At the time we were so worried about the men left behind in Singapore we did not really notice or mind anything. Cabins were overcrowded and mattresses on decks preferable. Children were always getting lost (not mine!) but I cried myself silly one night because I lost two silver medallions engraved with your names my best friend gave you. Hung them on a hook in the bathroom instead of putting them into my pocket – will I never learn?

I remember this. I remember the medallions, and the loss, and most of all my mother crying. 

Personally I did not like being in India. The constant worry about your father, what happened, where he was – did he know where we were and mainly did he survive? Nobody had any information although the Red Cross and Czech Consul in Calcutta tried hard for us all. There were columns of notices in the Calcutta papers where people wanted information about missing husbands, wives, even children. 

The four years seem even now like a lifetime and a nightmare. I have no idea how and why I came to Darjeeling. By that time I was feeling rather ill, depressed, and it was all getting too much. Darjeeling was the change I needed. The air was so good and I was busy working and enjoying it. Otherwise it was just a matter of waiting and waiting. Once I was asked to go to Calcutta, only to be told that after all the people were accounted for, your father was amongst those missing, presumed lost, and as they were all listed as civilians, it was all they could do. 

I returned the next day to Darjeeling but did not tell you. Rightly or wrongly. Rightly, I think. You had enough to cope with. 

But one day in Darjeeling a woman friend, at my mother’s request, took Peter and me for a walk and told us that our father was dead. Then she walked us back to the house, where my mother was waiting for us, teary-eyed and anxious about how we had taken it. For my part, I took it well, or not well, depending on how you look at it. I felt almost nothing. I felt the significance of the occasion but not the loss. 

How had my father died? On land? At sea? No one seemed to know. As far as I was told he had simply disappeared. But in fact there were people who did know and at least one of them, a Singapore survivor married to a close friend of my mother, must have told her. So that was something else she preferred not to go into. 

~

In Singapore in one of those Dutch company houses there lived an English family, Leslie and Katherine Smith and their son Tony, who was the same age as my brother Peter. Leslie, today a spry and dapper 90, was the manager of a British company that made optical and navigational instruments. He got in touch with me this year. Our families, he said, had been friends. On Sundays sometimes we would go to the Singapore swimming club together. Katherine Smith and Martha used to have each other in for coffee. When Peter answered the door he would shout, “Mama! Pani [Mrs.] Smithova!” 

Two days before the fall of Singapore: said Leslie, after the women and children had left, my father and another Czech, Mr. Heim, came to his office one evening. They said, ‘Look, we have to get out. Can you help?’ Because of my work, I had a pass to the docks and I knew the ships’ captains. So we got into my car. It was dark. The sentry at the docks let us through. There were several ships but only one of them seemed to have any activity going on. We went on board. I knew the captain and I asked him if he would take these two Czechs. He said yes, he would. Your father tried to persuade me to go with them, but I said I couldn’t leave my staff. So we all shook hands and that was the last I saw of your father.” 

The ship was sunk by the Japanese in the strait between Sumatra and the island of Bangka, trying to make it to Australia. 

~

A few days after my mother died, Ken, whom from England onward I had called “Daddy” or “Father” or “Dad” (though he objected to “Dad,” which he thought was lower-class) wrote to me to say that he had been concerned for some time about my “tribalization ” by which he meant mainly mv association, 10 years earlier, with the cause of Russian Jews, and he asked me to stop using “Stoppard” as my name. I wrote back that this was not practical. 

Leaving aside the anti-Semitism and, frankly, the dottiness, I know what made Major Stoppard, himself the father of two half-Jewish children, so angry. Whatever his opinions about Jews, his prejudice had an obverse side, a paternalism toward other races who were grateful to adopt English ways and modes of thought. Blacks were admirable when they were Anglophile Indians. Gurkhas were especially admirable. But when it came to Jews (or Indians) who to their good fortune received honorary membership in the club but persisted in their “tribal” ways nonetheless – that was sheer ingratitude, an insult to his country. Don’t you realize I made you British? 

Until I went to the bad, and the first sign of that was when I turned out to be arty, I was coming on well as an honorary Englishman. Ken taught me to fish, to love the countryside, to speak properly, to respect the monarchy. In the end I disappointed him. And yet, did he but know it, it’s all too late, this going back, these photographs, that small scar on Zaria’s hand. They have the power to move, but not to reclaim. I was eight and a half when our ship docked at Southampton on a freezing February day. My feet were so cold I cried. We had to travel halfway up England to Ken’s mother’s house. 

The train journey from Southampton to Retford was nerve-racking to say the least. I hope I wasn’t irritable or cross with you. You could not possibly have known what state I was in! I did not know what to expect at the end of that long journey. As it turned out, it was all very friendly, and Ken’s mother could not have been kinder to us. 

I was still Tommy Straussler, but English was my only language when Ken gave me his name three weeks later, and long before he asked for it back Englishness had won and had lost. 


16 April 2024

"'The Last Yiddish Speaker': Who They'll Come For First"

by Julia M. Klein 

[Deborah Laufer’s latest play, The Last Yiddish Speaker, is about anti-Semitism (I’ll add more detail on this shortly), and Julia M. Klein’s article from the section called “On The Scene” of American Theatre magazine, was posted on AT’s website (AMERICAN THEATRE | ‘The Last Yiddish Speaker’: Who They’ll Come for First) on 9 April 2024, six months after the terrorist assault by Hamas on Israel last 7 October and the start of the consequent war in Gaza.

[But, as you read Klein's article, you’ll learn that the play, written before last year’s Hamas attack, reaches back not just to the rise of anti-Semitism and Christian Nationalism in the United States in recent months and years—in April 2024, the Anti-Defamation League reported that anti-Semitic acts increased 140% in 2023 over the previous year—but to 6 January 2011, and even 11 September 2001.

[According to a synopsis of the play published on playbill.com, The Last Yiddish Speaker’s tells this story:

In the years following a successful January 6th insurrection, a white supremacist regime has come into power.  Paul and his teenage daughter, Sarah, live under the radar in a small town upstate as Christian-passing, despite being Jews who fled New York City.  When an ancient[,] Yiddish-speaking woman arrives on their doorstep, Paul and Sarah are forced to decide between fleeing again or fighting for their faith, their heritage and their identity.

[Deborah Zoe Laufer grew up in Liberty, New York, a town of a little over 10,000 inhabitants in Sullivan County in the Catskill Mountains.  (She currently lives in Mount Kisco, New York, a town of about 11,000 in Westchester County, a suburb of New York City about 43 miles north of the city.) 

[She has described her childhood as living in a small town, growing up in the woods, and raising animals.  She had an early interest in theater, and a lifelong goal to be an actress and a stand-up comic.  She studied acting at the State University of New York at Purchase.  

[Laufer worked as an actress along with other subsistence jobs.  She was a member of the Polaris North Theatre Company in New York City, an actors’ cooperative, when she became pregnant with her first son.  During the pregnancy, she wrote her first play, Miniatures, and performed in it at Polaris North.  It was produced at a few small theaters after that, including the Wedge at the Hangar Theater in Ithaca, New York (2002).

[She submitted the play to the Missoula Colony writer’s workshop in Montana, where it drew the attention of playwright Marsha Norman.  Norman invited her to study playwriting at the Juilliard School, where Norman taught.  Laufer accepted the invitation and graduated from Juilliard in 2000.

[Laufer’s plays have been produced at the Steppenwolf Theatre Company, Cincinnati Playhouse in the Park, Cleveland Playhouse, Geva, The Humana Festival, Everyman, Primary Stages, Ensemble Studio Theatre, and hundreds of other theaters around the world.  In addition to full-length straight plays, she’s written dozens of short plays, and two musicals, Window Treatment, and By Any Other Name, written with composer Daniel Green.

[Besides Juilliard, Laufer’s an alumna of the BMI Lehman Engel Advanced Musical Theatre Workshop, and she’s a Dramatists Guild Council member.  She’s also a recipient of the Helen Merrill Playwriting Award, the Lilly Award, the ATCA Steinberg citation, and grants and commissions from the National Endowment for the Arts, the Alfred P. Sloan Foundation, the Edgerton Foundation, the National New Play Network, and the Lincoln Center Foundation. 

[Her work has been developed by the Eugene O’Neill Playwrights Conference, Theatre Lab, PlayPenn, the Cherry Lane Alternative, the Missoula Colony, LOCAL Theatre, Asolo Rep, the Baltic Playwrights Conference, and more. Her plays are published or recorded by Concord/Samuel French, Smith and Kraus, Playscripts, LA Theatreworks, and Premieres.]

Deborah Zoe Laufer’s new play, now kicking off its rolling world premiere at Philadelphia’s InterAct Theatre, imagines an eerily plausible fascist future.

When Seth Rozin, founding artistic director of Philadelphia’s InterAct Theatre Company, first read Deborah Zoe Laufer’s The Last Yiddish Speaker about a year ago, “I immediately thought it was important,” he recalled recently. “It was timely, a really solid play that has a great story with characters that anyone could care about, very relatable, but also with some unique magic.”

Timely indeed: The drama is set in a near-future dystopian Christian Nationalist America in which the coup of Jan. 6, 2021, succeeded, and ethnic, ideological, and religious conformity is enforced at gunpoint. Its characters are a Jewish father and daughter passing as Christian; the daughter’s initially unsuspecting boyfriend; and a mysterious older woman who embodies a millennium of Jewish history and tradition.

World events have since given the play’s conflicts an even sharper edge. With the war in Gaza, increasing public expressions of antisemitism, and the prospect of a second Donald Trump presidency, The Last Yiddish Speaker is “much more than timely, but frankly urgent,” said Rozin, who also directs. “It’s a vital play, a necessary play, to remind us of the stakes when outside events poke at our biases and push people into a corner.”

A Lucille Lortel Theatre commission and a finalist in the Jewish Plays Project, The Last Yiddish [Speaker]’s InterAct bow (March 29-April 21 [2024]) is the first in a National New Play Network rolling world premiere. Additional productions are planned at Oregon Contemporary Theatre in Eugene (Oct. 23-Nov. 10) and Theatre Lab at Florida Atlantic University in Boca Raton (Oct. 23-Nov. 17), where Laufer herself will direct.

[According to its website (https://jewishplaysproject.org/), “The Jewish Plays Project identifies, develops, and presents new works of theater through one-of-a-kind explorations of contemporary Jewish identity between audiences, artists, and patrons.”  Furthermore, the site states that “The Jewish Playwriting Contest seeks to discover, highlight, and nurture contemporary Jewish drama by engaging with artistic and Jewish communities throughout the English-speaking world.”

[Founded in 1998, the National New Play Network (https://nnpn.org/) is an “alliance of nonprofit theaters that champions the development, production, and continued life of new plays.”  The Rolling World Premiere is NNPN’s program for developing and producing new plays across the country.  Each RWP supports three or more theaters that choose to mount the same new play within a 12-month period, allowing the playwright to develop a new work with multiple creative teams in multiple communities.]

“I like to write about what it’s like to live in the time we’re in, and the time we’re in is shifting so quickly,” said Laufer, who lives in Mount Kis[c]o, N.Y. “I keep saying history rewrites my plays faster than I can.”

The Last Yiddish Speaker takes place in the fictional upstate New York town of Granville in 2029, in a world where Jews, gays, and others deemed outsiders are banished or killed, dissent is punished, and a recent edict forbids women from attending college. A frustrated Sarah, now known as Mary, and her more circumspect father, Paul, are at loggerheads about how to survive without losing themselves in the process.

The play’s surveillance state calls to mind George Orwell’s 1984 [1949], as well as the totalitarian regimes Orwell both satirized and prefigured. Laufer’s counterfactual premise also evokes Sinclair Lewis’s It Can’t Happen Here [1935] and two other novels later adapted for television: Philip Roth’s The Plot Against America [novel, 2004; HBO miniseries, 16 March-20 April 2020], in which the isolationist Charles Lindbergh defeats Franklin Roosevelt in 1940 and ushers in fascism, and Philip K. Dick’s The Man in the High Castle [novel, 1962; Amazon Prime Video streaming series, 2015-19], which imagines an America conquered by the Axis powers of World War II.

Laufer’s 90-minute one-act is among a spate of recent dramas and musicals dealing with antisemitism and the varieties of Jewish response, some epic in scale. Broadway has featured Tom Stoppard’s semi-autobiographical Leopoldstadt [on Broadway, 2 October 2022-2 July 2023; 2023 Best Play Tony and 2023 Outstanding Play Drama Desk Award], Joshua Harmon’s Prayer for the French Republic [9 January-3 March 2024], and Barry Manilow and Bruce Sussman’s Harmony: A New Musical [13 November 2023-4 February 2024], a tribute to the 1920s and ’30s German sextet the Comedian Harmonists.

Laufer mentions another similarly themed play, The Ally, by Itamar Moses [b. 1977; playwright, author, producer, and television writer], who happens to be a member of one of her three writing groups. Premiered this winter by New York’s Public Theater [27 February-7 April 2024], The Ally puts a progressive Jewish professor in the crosshairs of disputation about the Middle East.

But Laufer (whose plays include End Days [premièred at Florida Stage (West Palm Beach), 2007], Leveling Up [premièred at Cincinnati Playhouse in the Park, 2013], and Informed Consent [premièred at Geva Theatre (Rochester, New York), 2014]) said that the initial spark for The Last Yiddish Speaker wasn’t political at all: It was a podcast she heard about a Hawaiian bird on the verge of extinction.

“I was so moved by being the last one who speaks your language, or being the last of your species,” Laufer said. As with stories of “people being lost in space, it’s the loneliest feeling in the world.”

Laufer said her plays tend to emerge “from four or five things that I’ve been obsessing about.” In the case of The Last Yiddish Speaker, which she called “probably the least hopeful” of her works, those obsessions did include some political concerns, namely rising antisemitism and the Jan. 6 attack on the Capitol. The Last Yiddish Speaker is also a response to her first professional production, The Last Schwartz [premièred at Florida Stage, 2002], about the Jewish “fear of assimilation and how it tears families apart.   

“There is a criticism of Jews in the heart of that play,” said Laufer, who was raised in rural upstate New York “with a certain paranoia” about being Jewish. “I’ve evolved in the last 20 years. I feel more protective of my Judaism.”

Trained as an actor at SUNY [State University of New York] Purchase, Laufer also has worked as a standup comedian and a director. At a conference in Missoula, Mont. [the Missoula Colony writers; workshop of the Montana Repertory Theatre], Marsha Norman [b. 1947; playwright, screenwriter, and novelist] read a play Laufer submitted [Miniatures] and told her, “You know, you’re a playwright.” On her invitation, Laufer enrolled at the Juilliard School, where Norman headed the playwriting program. “It was the most amazing thing,” Laufer said, “and it changed my life.”

Laufer’s most successful play to date, End Days, inspired in part by 9/11, is a comic family drama featuring a collision between science and religion, as incarnated by the physicist Stephen Hawking [1942-2018; English; director of research at the Centre for Theoretical Cosmology at the University of Cambridge] and Jesus. It has received about 90 productions, she said.

In an earlier version of The Last Yiddish Speaker, the eponymous character of Aunt Chava was a more realistic figure—a woman in her 90s. A writer colleague told Laufer, “There’s something missing—it’s not a Deborah Laufer play.” Now Chava is 1,000 years old, a magical element that, to Laufer, makes the show “reverberate in a much larger way.” InterAct’s Chava is portrayed by Stephanie Satie, who coincidentally played Tevye’s daughter Chava in the original Broadway national tour of Fiddler on the Roof [1966-70].

Citing Rozin’s directorial input, Laufer described The Last Yiddish Speaker as comprising three love stories: “between a father and daughter, a boy and a girl, and then this old woman who’s passing on Judaism to this young woman.”

Continued Laufer, “I really see this play as Our Town [Thornton Wilder, 1938]—if there were a really dark backdrop. There still needs to be all the innocence and simplicity and joys and problems of living in a small town. All those things have to be just as alive in the play as the backdrop, which is so dark. I keep saying, ‘It’s Grover’s Corners [New Hampshire (fictional), population 2,642 in 1901-13]—let’s not lose that. It’s a small town and it’s young love.’ The sweetness of these relationships really needs to be emphasized.” In the InterAct production, Gabriel Elmore’s performance as John, the boyfriend torn between allegiance to the new world order and his love for the teenager he knows as Mary, captures that sweetness.

Laufer’s play poses a question, Rozin said, that isn’t limited to Jews, but that defines Jewish history: “The constant question that we ask at every place that we’ve settled is, ‘Do we fight, do we flee, or do we assimilate in order to survive?’” Each option entails some loss. The Last Yiddish Speaker, he said, is both a reminder “of what has been given up already” and, through the character of Chava, a suggestion of a “magical opportunity of reconnecting with your history, your culture, your language.”

“One of the things I like about this play is that it’s very specific,” Rozin said. But, like The Diary of Anne Frank, he said, it “comments on the larger issues of humanity and human nature. While it uses the specific history of Judaism, of the Jewish people and Jewish culture, the play is really about the challenges of living together in community going forward.”

[Commonly known as “The Diary of Anne Frank,” the actual journal was published in English translation as Anne Frank: The Diary of a Young Girl in 1952. Its popularity inspired the 1955 play The Diary of Anne Frank by the screenwriters Frances Goodrich and Albert Hackett, and they adapted it for the screen for the 1959 movie version. For a report on a pandemic-era Zoom performance of The Diary of Anne Frank, see “The Diary of Anne Frank Online,” 29 May 2020.]

[Julia M. Klein is a cultural reporter and critic in Philadelphia.]

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[After reading Klein’s article on Laufer’s play, I thought it would be interesting to see some of the published reviews of the Philadelphia première production.  My first selection—for obvious reasons, I think—is from The Forward, the New York City-based, English-language newspaper for a Jewish-American audience.  This review appeared on the website on 8 April 2024; coincidentally, the reviewer is Julia M. Klein.]

“IN A CHRISTIAN NATIONALIST SURVEILLANCE STATE,
THE FEW REMAINING JEWS STRUGGLE TO SURVIVE”
by Julia M. Klein 

Deborah Zoe Laufer’s ‘The Last Yiddish Speaker’ envisions a dystopian future for America

Deborah Zoe Laufer packs a suitcase full of themes into her passionate and timely new play, The Last Yiddish Speaker, currently running at Philadelphia’s InterAct Theatre Company.

In just 90 minutes, with only four characters, she artfully etches a dystopian world in which the Jan. 6 attack on the U.S. Capitol has triumphed. The terrifying result is a Christian Nationalist surveillance state that punishes dissent; banishes or kills Jews, gays and other outsiders; and forbids women from attending college or holding professional jobs.

Laufer’s characters — a Jewish father and daughter concealing their identity, the daughter’s unsuspecting boyfriend, and an older woman embodying the richness and trauma of Jewish history — must negotiate these perilous circumstances while somehow remaining true to themselves.

An experienced playwright (End Games, Leveling Up, Informed Consent, The Last Schwartz, among others), Laufer reveals the contours of her menacing future America, and the stakes of opposing its rules, only gradually and with considerable craft.

On Colin McIlvane’s realistic set, depicting a kitchen, living room and porch, 17-year-old Sarah (now known as Mary) and her father, Paul, argue about how to balance their safety with her ambitions. Disconnected from their heritage, they are passing as Christians in a small, rural upstate New York town, where they must accustom themselves to religious and social conformity, Big Brother-level intrusiveness, and firearms. On their walls, they display a portrait of Jesus Christ and two crucifixes — emblems of their disguise. 

The year is 2029, and the situation for women is deteriorating. Sarah is smart, feminist, frustrated and desperate for opportunity. Incautious and sick of concealment, she is willing to risk everything in a flight to Canada, still a free country, even if the border is protected by a wall.

Sarah admits to being “a loose cannon,” and in Kaitlyn Zion’s somewhat over-the-top performance it’s hard, initially, to fully embrace her. “You’re impossible,” her father says, with some justification. “Every day you leave this house I wonder what you’re gonna say that will get us killed.”

Dan Hodge’s terrified Paul, forever on edge, occupies the other end of their seesaw: He is the timid accommodationist, willing to compromise everything to keep his daughter safe — a stance that leads her to insult him as “weak.” He, too, has his reasons, not least the fate of his outspoken wife [daughter? (Paul’s wife disappeared mysteriously some years before the play.)].

Their survival depends, in part, on her handsome and besotted boyfriend, John (Gabriel Elmore), tasked (in a blatant conflict of interest) with surveilling their home for contraband items and thoughts. A representative of a noxious government, he is nevertheless sweet, sympathetic, and trying to do what he believes is right. Will he truly love Sarah, whom he escorts to both the prom and the gun range, or turn her in? John is the play’s pivot, and Elmore’s subtle, perfectly pitched performance elevates this production.

There is one more complication: the eponymous last Yiddish speaker. Dropped off mysteriously at Sarah and Paul’s doorstep, Aunt Chava (Stephanie Satie) represents the last millennium of Jewish tradition and identity, as well as everyone’s favorite Jewish immigrant relative. Her otherworldliness is signaled by Drew Billiau’s eerie lighting, sound designer Christopher Colucci’s music, and the layers of ethnic dress in which costume designer Katherine Fritz envelops her.

Satie, who played Tevye’s daughter Chava in the original Broadway national tour of Fiddler on the Roof, is haunting as this mysterious figure. Speaking a mix of Yiddish (some of it untranslated) and English, she gives the play much of its humor and poetry. Like Anne Frank, Aunt Chava must be hidden from authorities, putting Sarah and Paul at risk. But she is also a mentor: a purveyor of Yiddish jokes, Jewish prayers, pickles and magically appearing ritual objects.

Mostly written before Oct. 7 and the war in Gaza, The Last Yiddish Speaker is nevertheless very much of the moment. Laufer is attuned to the threat of Christian Nationalism, efforts to undermine democracy, and the judicial and legislative assault on women’s reproductive rights. She is equally passionate about the dangers of political polarization and the challenges of maintaining Jewish identity in a sometimes hostile world.

That is a lot to cram in, a heavy lift. But Rozin’s production mostly navigates the play’s transitions — some of them sudden — with grace, and leaves the audience appropriately shaken and stirred.

[Julia M. Klein, the Forward’s contributing book critic, has been a two-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing.]

*  *  *  *

[On the blog Burd Reviews, Frank Burd posted the following notice on 7 April 2024.]

“THE LAST YIDDISH SPEAKER AT INTERACT THEATRE COMPANY”
by Frank Burd
 

An old, Yiddish speaking woman, lands on the steps of the home of Mary and Paul in upstate New York. It is 2027, and they have fled from New York City in the wake of a successful January 6th rebellion that has brought a white supremacist regime into power. They are Jewish, passing as Christians in this small town. Interact Theatre is presenting the world premiere of “The Last Yiddish Speaker,” by Deborah Zoe Laufer at the Drake. It is engaging, suspenseful, and powerful as we watch a father and his 17-year-old daughter try to figure out how to reply, not just to the woman, but to the events around them.

The play begins in the home where Paul (Dan Hodge) and Mary (Katlyn Zion) live. Hung on the walls are crucifixes and a portrait of jesus. But we soon learn that they are trying to blend into a society that doesn’t know their true identities. Mary’s real name is Sarah.

The third major player before the woman arrives is John (Gabriel Elmore), a good-looking young man who is in Mary’s senior class in high school. They have serious crushes on each another, and he is to be taking her to the senior prom. But not only does he not know of Mary’s real identity, he is also part of the youth group that seeks to root out all those who oppose the regime. They are seeking “to take the country back” from the Jews, the gays, the non-whites, and even the women, who are prohibited from attending college. When the old woman, Chava (Stephanie Satie) arrives, they cannot let John know about her and they hide her in the basement. Paul doesn’t even want to keep her there, lest their true backgrounds be revealed.

So who is this old woman? She says she is Mary’s great aunt. She says she’s been married over a dozen times. She says she lived 1000 years ago. The only things we can be reasonably sure about is that she is Jewish and speaks Yiddish. And that is a threat to Paul- revelation of hiding a Jew can lead to serious consequences and his only goal is to protect his daughter. Her mother, his wife, disappeared mysteriously a few years earlier.

Chava awakens in Mary a sense of what is means to be a Jew, and it threatens the precarious situation in which it challenges Paul’s attempt to let them “blend in” to their new life. She makes Mary laugh. She gives her a sense of history.

We are riveted for every moment of this 95-minute drama, but also the effective comedic touches that Laufer has given us, like the results from the downloading of the Yiddish app on Mary’s phone to understand what Chava is saying, before we realize it won’t be needed. And what will happen to many of the professions usually dominated by Jews if they are eliminated? But what struck me so powerfully were the brief descriptions of Jewish identity based upon the centuries of repression.

The ensemble is terrific- so honest, so real, so conflicted. From the challenging daughter to the protective father, from the questioning young suitor to the mysterious yet sweet old woman, they all create memorable characters. Director Seth Rozin does a superb job bringing this dystopian future play to life. I loved every minute!

*  *  *  *

[In the Broad Street Review, an arts and culture website with a mix of reviews and commentary, mostly about events and performances in the Philadelphia area, Josh Herren had a different response to Laufer’s new play.  His review appeared on the site on 9 April 2024.]

“InterAct THEATRE COMPANY PRESENTS
DEBORAH ZOE LAUFER’S THE LAST YIDDISH SPEAKER”
by Josh Herren 

Imagining life for Jews after a successful insurrection

There is a refrain often repeated by my Jewish mother, encapsulating the essence of our holidays: “They tried to kill us, they didn’t, let’s eat.” Existential terror has been a constant in the history of Judaism, spanning both ancient and modern times. In Deborah Zoe Laufer’s new play, The Last Yiddish Speaker, receiving a rolling world premiere at InterAct Theatre Company, this history is personified by a 1000-year-old Yiddish-speaking Bubbe named Chava. This character, funny and pragmatic, offers a striking glimpse into the specificity of Jewish generational trauma.

Unfortunately, these ideas are not able to fully develop in The Last Yiddish Speaker. The world of this play is an alternate near future in which the January 6 insurrection successfully overturned the 2020 presidential election. What this serves to do, besides raising my blood pressure, is to offer up a fictional world open to debate. Rather than following characters through a story, I found myself constantly second-guessing the world of this alternate future being created.

Tension and confusion

In this dystopian projection, set in 2029, the United States has transformed into a hyper-conservative, patriarchal white Christian nationalist ethno-state. Paul (Dan Hodge) and his daughter Sarah (Kaitlyn Zion), now using the name Mary, are living under new identities in a small New York town. There they must open their home, phones, and computers to frequent inspections by repressive agents of the state. Their inspector also happens to be Mary’s boyfriend, John (Gabriel Elmore). Amidst this tense situation, Aunt Chava (Stephanie Satie), a mysterious Jewish elder, arrives on their doorstep. Together, the family must decide how to navigate their identity and plan for their future.

Director Seth Rozin keeps the action moving. The ensemble members do their best to commit to a script that veers into the maudlin. In particular, Hodge delivers a nuanced performance as he wrestles with the dueling needs of safety and self-acceptance. Satie gives a surprisingly grounded performance as Chava. As written, Sarah is a puzzling character. She knows the grave stakes of being discovered yet is seemingly unable to keep her true feelings under the surface. Zion tries to thread the needle between these dimensions, but the character ultimately feels confused. This confusion strikes at the heart of The Last Yiddish Speaker: the play wants to serve as dramatic speculative/dystopian fiction while also using magical realism to explore Jewish identity. Ultimately, it achieves neither.

The possibility of solidarity

More problematically, its focus on the specificity of Jewish suffering in this particular narrative feels misguided. In the context of the story, Sarah and Paul have watched as immigrants, African Americans, liberals, and queer people have been exterminated. They are able to survive by suppressing their Jewishness and passing as white. The focus then on Judaism, in the midst of all that suffering, seems to ignore intersectional identities and the possibility of solidarity. As a queer Jewish person, I walk through the world with two identities. It felt disconcerting to have Jewishness seen as inherently tied to suffering, while violence against queer folks is handwaved away.

Colin McIlvaine’s set conveys the claustrophobia of this family’s situation and nails the small-town Christian aesthetic. The costumes by Katherine Fritz feel a bit dated, which is possibly a nod to the cyclical nature of fashion. She dresses Chava in layers of clothes that effectively symbolize her journey. Drew Billiau’s lights and Chris Colucci’s sound can veer into the cheesy as it tries to convey the play’s more magical elements.

[I’m a little surprised that none of the writers whose articles and reviews I read drew the analogy of the new life of Paul and Sarah/Mary to that of the Marranos, the secret Jews who lived outwardly as Catholics in 15th-century Spain during the Inquisition. 

[(I have a post, “Crypto-Jews: Legacy of Secrecy,” published on 15 September 2009, which relates the tale of some descendants of the secret Jews who traveled to the New World with the Conquistadors and settled in New Mexico, then part of New Spain, and only rediscovered their Jewish past in the late 20th century.)

[There also seems to be a resemblance between John, “Mary’s” boyfriend in The Last Yiddish Speaker, and Rolf, the young Hitler Youth in The Sound of Music who’s courting Liesl von Trapp (“You Are Sixteen”).  No one remarked on that, either.

[Maybe it’s just me.]