Showing posts with label NY1. Show all posts
Showing posts with label NY1. Show all posts

05 February 2023

Music Theater Programs for Kids

 

[Two topics readers of Rick On Theater will know are of major interest to me are arts and theater education for school children and young adults and live music in the theater.  I’ve written about them and posted articles by other writers on this blog many times, but I still see a need to reemphasize the importance of supporting these efforts.  I’ve been holding on to two articles on the subjects for a couple of years now, and I feel this is a good time to republish them on ROT.  Both are about musical theater programs for children and one emphasizes the importance of live music to the experience. 

[I’ve recently added a third piece, a TV report from early this winter on a program to bring teenagers into the Broadway theater, some for the first time.

[First up is the transcript of a broadcast of “On Stage,” a program of NY1 News, the local news channel of Time Warner Cable (now Spectrum).  Hosted by Frank DiLella, the Emmy-winning (2018) host of “On Stage” who’s also appeared as a theater correspondent for the BBC, Sirius XM, “The Early Show” on CBS, CTV (Canadian private television broadcaster), and Al Jazeera TV, the program aired on 18 August 2012.] 

PROGRAM BRINGS BROADWAY TO STUDENTS ACROSS THE WORLD
By: Frank DiLella 

The classroom: Broadway. The course: musical theater. And the faculty: members of the Great White Way. Welcome to the school of Students Live!

Students Live! founder Amy Weinstein created the company after she was asked by the producers of the original production of “Rent” to form a curriculum that would help develop young audiences for Broadway.

“It grew into an interactive training ground to connect Broadway artists in front of and behind the scenes to young people from all over the world,” Weinstein said.

Students Live! teacher and “Wicked” dance captain Alicia Albright regularly conducts a Broadway choreography workshop for aspiring young performers. On the day NY1 stopped by, Albright was teaching a portion of the song “Dancing Through Life” to some students.

“The goal is that they leave remembering that hard work brings results and also, no matter what they do, whether they pursue this or not, if they do pursue it, hopefully it gives them hope and inspiration to pursue it and if they don’t, hopefully they will support the arts and the Broadway community for the rest of their lives,” Albright said.

“It kind of reminds us if we want to be an actor or singer, we can if we work hard and we put our minds to it,” said dancer Gianna Newborg.

While musical theater and Broadway are considered staples of American culture, in 2008 Students Live! opened up their program to folks overseas.

Forty-eight students from South Korea are currently putting the finishing touches on their musical show entitled “Journey to America.” The musical revue features well known Broadway songs including “One,” “Everything’s Coming Up Roses” and “NYC.” Tony-nominated actor John Tartaglia and Broadway casting director Benton Whitley recently attended a rehearsal to provide the kids with some musical theater advice.

“You forget that these kids are from another country. Most of them don’t speak English at all and all of a sudden they come here and in 14 days, it’s total immersion,” Tartaglia said. “All of a sudden, they’re singing all these complicated lyrics from 40 different Broadway shows. From where they started to where they are now, it’s incredible. It’s overwhelming.”

“I think a lot of times, kids from other cultures think they should be seen and not heard,” Whitley said. “I think theater is an incredible outlet for them to actually realize that’s not always the case.”

Veteran Broadway producer Alecia Parker said programs like Students Live! are essential for the New York theater community and beyond.

“It makes our industry stronger and builds new audiences for tomorrow, which we can’t ever forget about,” she said.

While her program seems to be thriving, Weinstein said she has big plans for the future.

“My goal in the next five years is to have a brand name that Broadway has as a conservatory on Broadway to develop younger audiences,” she said. “Not necessarily just to sell a ticket but to create what they need to cast in their shows and to create appreciation for all the shows.”

[For more information on the Students Live program, log on to www.studentslive.net.

[Since 2000, StudentsLive’s Award-Winning live interactive education programming has attracted over 100,000 participants from as far away as Guam, the UK, Italy, and from all across the United States.  The League of American Theatres and Producers and the Theatre Development Fund have awarded StudentsLive grants for Outstanding Education Programs on Broadway.  StudentsLive’s programs are now attracting adult groups and tour internationally in collaboration with presenters all across the world.

[Guest Speakers and workshop participants at the high profile Exclusive Student Matinees and Workshops on Broadway have included: Judge Judy, Geraldine Ferraro, Johnnie Cochran, Tommy Hilfiger, Kathy Lee Gifford, Susan Lucci, George Hamilton, Reba McEntire, Chazz Palminteri, Bernadette Peters, Joey Fatone, and Scary Spice

[StudentsLive’s ongoing commitment is to create highly effective, interactive and engaging workshops, events and programs for audiences of all ages in partnership with the best theater the  U.S. has to offer, “Broadway.”  The organization offers a highly personal inside connection to live theater with educators, corporations, group leaders, families, Girl Scouts, adult individuals, and overall educated, sophisticated, and new theater attendees worldwide.

[StudentsLive’s mission is to create and inspire newer, better, and wider audiences and artists alike: and to connect and provide deeply engaging and creative access to Broadway shows by offering the highest quality programming, and services on Broadway today.  As Hilary Clinton stated: “Programs like these enable a new generation of audiences to make the arts a permanent part of their lives.”]

*  *  *  *
ENCHANTED!
by Bettina Covo 

[The second article was originally published in the February 2014 issue of Allegro, the member magazine of Local 802 of the American Federation of Musicians, the union that represents members of the pit orchestras for all Broadway and many Off-Broadway shows (among other gigs around town).  It’s no surprise, then, that its pages often contain articles in support of live music in New York theaters—Local 802 supplies the instrumentalists and music directors for all those shows.  I couldn’t agree with them more strongly—even though I don’t play an instrument.  

[This program, which AFM supports for obvious reasons, is Inside Broadway and the series is called Creating the Magic—because that’s what happens when drama, music, singing, and dancing all come together in a theater!  (It’s all the more appropriate that the production for 2014 was Richard Rodgers and Oscar Hammerstein II’s most magical of all musicals, Cinderella—which ROTters will know is a show close to my heart since I saw it in its world première on television in 1957 (see my post “Cinderella: Impossible Things Are Happening,” 25 April 2013).]

Live music brings the magic of theatre to kids

What happens when you combine the wonders of live music with the power of live theatre? Magic! Recently, over 3,000 public school children were treated to a special holiday gift – a look behind the curtain into the inner workings of a Broadway show.

Inside Broadway has presented another wonderful production in its Creating the Magic series. This time, the show was Rodgers and Hammerstein’s magical “Cinderella” and the venue was the Broadway Theatre at 1681 Broadway.

As the morning began, excited students piled into the theatre, many of them rushing to take a peek at the musicians in the orchestra pit. Even though protective netting prevented anyone from getting too close, it didn’t stop the kids from trying. When asked if they played music, many of the students gleamed with pride as they named the instruments they studied. To say they were excited to hear live music from live musicians would be an understatement.

Inside Broadway’s executive director Michael Presser began the presentation with a short history of the Broadway Theatre, which was immediately followed by one of the numbers from the show. Spellbound, the children watched as the stage director and various crew members from the many theatrical departments – lights, sound, props, set changes, costumes – came out on stage to reveal the secrets of producing a Broadway show.

At every Creating the Magic event, representatives from Broadway unions are invited to speak. Recording Vice President John O’Connor attended on our behalf to talk about Local 802 and the importance of live music.

Later, the talented cast (Laura Irion, Andy Jones, Rebecca Luker, Laura Osnes and Kirstin Tucker) performed several more charming musical numbers from the show, accompanied by Local 802 members Brian Taylor (piano), Billy Miller (drums) and Mark Vanderpoel (bass), under the direction of musical director Andy Einhorn. After each number, Michael Presser interviewed the cast members to talk about their theatrical careers.

Andy Einhorn was then given the opportunity to address the audience from the podium, explaining the role of the music director in a Broadway show. The children were totally engaged, attentively listening to Einhorn talk about the music and the orchestra.

“Participating in Inside Broadway was truly a rewarding opportunity for me and the other musicians who helped out,” Einhorn said. “It was great to see so many children experience the joy of watching how the sets, props, lights and music all function to help create the totality that is a Broadway musical. We are blessed at ‘Cinderella’ to have a large orchestra thanks to our producers and our friends at the Rodgers and Hammerstein organization.”

The presentation concluded, aptly enough, with the song “There’s Music in You,” followed by a question-and-answer period. Most of the questions are usually directed towards the actors and sometimes the stage director and crew. This time, it was truly heartening to see so many of the children ask Andy Einhorn questions about being a Broadway musician. He was pleasantly surprised. “I particularly found myself encouraged that so many students had questions about how to become musicians on Broadway,” Einhorn said.

A young trumpet player asked “How does one become a Broadway musician?” Einhorn’s response, “Practice, practice, practice, but above all – have fun!”

And indeed, fun was had by all, especially the fortunate children who were privileged to see what it takes to produce the nightly miracle of a Broadway show. Thank you to the musicians and the creative team, and to Michael Presser and his dedicated staff as well as the board and patrons of Inside Broadway for giving everyone involved such a magical holiday gift. Finally, as reported in last month’s Allegro, Local 802 was recently asked to join the board of Inside Broadway. We’re proud that we are represented in this wonderful organization.

*  *  *  *
BROADWAY BRIDGES PROGRAM HELPS THOUSANDS OF NEW YORK CITY STUDENTS
SEE THEIR FIRST BROADWAY SHOW
by Dick Brennan
 

[The story below, broadcast by WCBS News (Channel 2) on 27 November 2022, reports on a still relatively new program that allows New York City high school students to see Broadway shows, both musicals and non-musicals, at an affordable ticket price. 

[Broadway Bridges was inaugurated in 2017 by the Broadway League, the trade association for New York City’s commercial theater, the New York City Department of Education’s Office of Arts and Special Projects, and the United Federation of Teachers.  The program’s website is https://www.broadwaybridges.org/.]

NEW YORK -- Each year, thousands of New York City high school students see a Broadway show, an experience that can change lives.

A CBS2’s Dick Brennan reports, Broadway Bridges is the largest theater education program in the city.

“I’m happy. I’m excited. I just want to see how it is,” said 10th grader Cam Johnson.

“I’ve never done anything quite like this other than the movie theater,” said Kasey Rosario, a 10th grader at East Bronx Academy for the Future.

High school sophomores recently got a chance to see “The Phantom of the Opera,” Broadway’s longest-running musical, for just $10 a ticket thanks to Broadway Bridges.

“We know that when kids do arts, they do better in life, they go on, further their school. They just are happier, more successful people. So this is a win for us, a win for the students and a win for New York City,” said Charlotte St. Martin, president of the Broadway League.

St. Martin wants every New York City school student to see a Broadway show before they graduate.

“It introduces a key aspect of the city of New York. It introduces careers in Broadway to these students because they’re making life decisions,” said St. Martin. “And it also hopefully builds an audience for us.”

Around 60,000 students have seen shows like “Beetlejuice,” “Aladdin” and “Hadestown” since the program started six years ago.

“Broadway is a really exciting place to go to. You get to see professional plays,” said 10th grader Marian Rodriguez.

“I think it’s a great way for people to grow a new love of theater,” said 10th grader Paulyne Bacani, who’s been to Broadway before. “I’m excited for [my friends] because it’s their first time.”

“They’re mesmerized. Many of our students have never even been to Manhattan, much less a theater. It’s really great. The teachers tell us it is an incredible bonding experience for them,” said St. Martin.

“People don’t realize that the arts is very conducive to learning. When you mix a passion for arts, it creates a passion for academics. It’s an outlet for a lot of our students,” said Rosemary Vega, principal at East Williamsburg Scholars Academy.

For many student, the trip to “Phantom” was their first time ever seeing a Broadway show.

“I don’t really know what I should expect, I don’t know. I’m still excited,” said 10th grader Victoria Banszynski.

Kasey Rosario, a 10th grader at East Bronx Academy for the Future, is eyeing a career in the arts and said a trip to the theater is an invaluable lesson.

“I think it might help me be more confident, since there’s actually like actors going through the process of exposing their art style and being themselves. So it might help me be more confident in my writing,” said Rosario.

In all, 19 Broadway shows, including “Into the Woods,” “MJ: The Musical,” “Wicked,” “Death of a Salesman” and “Topdog/Underdog,” are on this year’s list, ushering in new lifelong theater fans.

[Dick Brennan joined CBS2 in 2012 as an anchor and reporter.  In addition, he anchors on its digital channel CBS News New York, which is also seen on the News at Nine on our sister station WLNY-TV on Long Island.]


24 April 2021

Latter-Day Esthers & Women Maccabees

 

[Thursday, 8 April, was Holocaust Remembrance Day, or Yom HaShoah.  Officially known in Israel, where it’s a national holiday, as Yom Hazikaron laShoah ve-laG’vurah (Hebrew: יום הזיכרון לשואה ולגבורה‎, literally ’Holocaust and Heroism Remembrance Day’), it’s traditionally observed on the 27th day of Nisan in the Hebrew calendar, usually corresponding to the Gregorian calendar date of sundown on 7 April to sundown on 8 April. 

[Elsewhere, especially in Jewish communities, Yom HaShoah is recognized as a day of commemoration for the Jews who perished in the Nazi Holocaust and for the Jewish resistance who fought against Nazi oppression during World War II.  Both religious and civil ceremonies are conducted in observance of Yom HaShoah, both to honor and mourn those lost in the holocaust and to celebrate those who struggled against Nazi tyranny.  (Shoah, pronounced show-uh, is the Hebrew word for ‘catastrophe’ and haShoah is the word used for ‘the [Nazi] Holocaust.’)

[Coincidentally, March is recognized as Women’s History Month in the United States.  8 March is celebrated as International Women’s Day. 

[Over the last month-and-a-half, several news outlets have published articles on Jewish women who took up the fight for freedom from the Nazi occupation of Europe, risking their own lives and even eschewing escape for themselves, to help save others.  NY1, the proprietary news channel of Charter Spectrum cable system in New York City, reported on a New York University film professor, Enid Zentelis, who researched her grandmother.  The grandmother, Isabelle Vital-Tihanyi (1916-88), known as Bella,  was a Hungarian Jew who spied for the British against the Nazi occupiers of Hungary. 

[The New York Times and then PBS NewsHour ran stories on Judy Batalion’s book, The Light of Days: The Untold Story of Women Resistance Fighters in Hitler’s Ghettos, the result of a research project that developed somewhat by happenstance.  Looking for material on strong Jewish women, the multi-hyphenate whose writing has appeared in the New York Times, the Washington Post, Vogue, the Forward, Salon, the Jerusalem Post, came across a record in Yiddish (she speaks English, French, Yiddish, and Hebrew) of women who fought with the resistance in German-occupied Europe.

[It occurred to me that now is a perfect moment to republish these remarkable stories—not least because we are besieged with efforts by forces, across the globe and right here at home, taking malicious aim at people because of their skin color, national heritage, gender, religious belief, or choice of romantic partner.  One wonders what the women whose stories are recounted here might have elected to do in the face of this current enemy.  I think they’d shout out “Never again!” and take up arms once more.]

“NYU FILM PROFESSOR LEARNS HER GRANDMOTHER
WAS A SPY FIGHTING THE NAZIS DURING WWII”
by Stephanie Simon 

[The following report was aired on Spectrum News NY1 on Thursday morning, 25 March 2021.  In re: the reference to Spyscape, the espionage museum, reporter Stephanie Simon makes just below, see my republication of “A Place to Come In From the Cold” by William L. Hamilton in my post “Spy vs. Spy” on Rick On Theatre on 9 August 2019.]

Walking through Spyscape, the museum of espionage in Midtown, filmmaker Enid Zentelis is intrigued by the collection of spy artifacts, but she’s on her own mission to learn the truth about her late grandmother, a Hungarian-Jewish Holocaust survivor – and a spy.

“I was going through her things and found myself staring at a letter that I had seen in childhood and I didn’t really understand. It had to do with some sort of covert work she had done for the British,” said Zentelis.

And so Zentelis spent four years unraveling the secret life of her grandmother Isabelle, which unfolds like a classic spy thriller in a new six-part podcast called “How My Grandmother Won World War II” [https://podcasts.apple.com/us/podcast/how-my-grandmother-won-wwii/id1550511220].

Zentelis determined that her grandmother was in fact a covert operative working in Hungary for the British, during World War II.

“It was her brother Zoltan that got her involved in covert work,” said Zentelis.

Zoltan was a telegraph operator at the post office – a  position that gave him access to crucial information like Nazi troop movements, which he then passed on to his sister. Exploring the artifacts at Spyscape, the famous enigma code breaking machines hold special significance to Zentelis.

“When my great uncle started working at the post office, they decided to use their childhood code and maybe further develop it to encrypt the information that they intercepted at the post office so that when my grandmother carried it to the British legation in Budapest -- if she were to be discovered, it would be in code,” said Zentelis.

Isabelle was arrested later, not for espionage, but for being Jewish. Using her guile once again, she escaped. After the war she was a refugee with young children who lost her husband.

She eventually settled in Corsica. She died in 1988. Her daughter – Enid’s Mom, came to America and lived in Queens.

Zentelis, an NYU film professor, pieced together her grandmother’s story by tracking down distant relatives and sifting through declassified records in Britain’s national archives.

“And I did find proof that she absolutely contributed to helping the Red [i.e., Soviet] Army prevail in Hungary [March 1945], which was a critical, critical point to winning World War II. It’s one of the proudest moments of my life finding this,” said Zentelis.

Enid is passionate about sharing her grandmother’s story but also raising awareness that so many women like her have been lost to history.

She also hopes that sharing her grandmother’s story will change the stereotype of female spies using their sexuality, rather than like her grandmother – their bravery, guile and intelligence.

“My grandmother like her brother, and like many other women, you will never hear about was willing to risk their lives to do what was right, to make this a better world,” said Zentelis.

It’s a story that’s now being told thanks to an intriguing old letter, and a very determined granddaughter.

[Stephanie Simon, Spectrum News arts reporter, covers art and culture in all its many forms across the five boroughs of New York City, including the visual arts, jazz, the New York Philharmonic, New York history, and everything in between.  Beginning as a television and radio reporter in Delaware, Pennsylvania, and Connecticut, Simon began at NY1 as a features producer in 1998.] 

*  *  *  *
“THE NAZI-FIGHTING WOMEN OF THE JEWISH RESISTANCE”
by Judy Batalion 

[The following opinion article appeared in the New York Times of 21 March 2021 in section SR (“Sunday Review”).  The title above was used on the front page of the section, which was a full-page promotional preview of Judy Batalion’s essay; the inside headline read: “The Women of the Jewish Resistance.”

[Dr. Batalion is the granddaughter of Polish Holocaust survivors; her mother was born on the way back to Poland in 1945 in the aftermath of wartime displacement.  Batalion was born and grew up in Montreal and earned her bachelor’s degree in the history of science at Harvard and a Ph.D. in contemporary art from the University of London’s Courtauld Institute of Art.  Suffering from what she calls “career promiscuity,” she’s worked as a museum curator, researcher, editor, university lecturer, MC, script-reader, dramaturg, performer, actor, producer, translator, muffin-server, and office temp.  Dr. Batalion also does stand-up comedy.]

They flung Molotov cocktails, bombed train lines and flirted with Nazis, then killed them. Why hadn’t I heard their stories?

In 1943, Niuta Teitelbaum strolled into a Gestapo apartment on Chmielna Street in central Warsaw and faced three Nazis. A 24-year-old Jewish woman who had studied history at Warsaw University, Niuta was likely now dressed in her characteristic guise as a Polish farm girl with a kerchief tied around her braided blond hair.

She blushed, smiled meekly and then pulled out a gun and shot each one. Two were killed, one wounded. Niuta, however, wasn’t satisfied. She found a physician’s coat, entered the hospital where the injured man was being treated, and killed both the Nazi and the police officer who had been guarding him.

“Little Wanda With the Braids,” as she was nicknamed on every Gestapo most-wanted list, was one of many young Jewish women who, with supreme cunning and daring, fought the Nazis in Poland. And yet, as I discovered over several years of research on these resisters, their stories have largely been overlooked in the broader history of Jewish resistance in World War II.

In 2007, when I was living in London and grappling with my Jewish identity, I decided to write about strong Jewish women. Hannah Senesh [anglicized from Szenes; 1921-44] jumped immediately to mind. As I’d learned in fifth grade, Hannah was a young World War II resistance paratrooper. She left her native Hungary for Palestine in 1939, but later returned to Europe to fight for the Allied cause; she was caught and was said to have looked her killers directly in their eyes as they shot her.

That tale of audacity was exhilarating to me. I was the granddaughter of Holocaust survivors who had escaped from Poland; in my family, flight meant life. I had grown up to be a runner in relationships, careers and countries. But Hannah had returned to fight. I wanted to grasp what had motivated her boldness.

I went to the British Library, looked her up in the catalog and ordered the few books listed under her name. One, I noticed, was unusual, bound in worn blue fabric with gold lettering and yellowing edges — “Freuen in di Ghettos” [Pioneer Women’s Organization, 1946], Yiddish for “Women in the Ghettos.” I opened it and found 180 sheets of tiny script, all in Yiddish, a language I was fluent in. To my surprise, only a few pages mentioned Hannah Senesh; the rest relayed tales of dozens of other young Jewish women who defied the Nazis, many of whom had the chance to leave Nazi-occupied Poland but didn’t; some even voluntarily returned.

All this was a revelation to me. Where I had expected mourning and gloom, I found guns, grenades and espionage. This was a Yiddish thriller, telling the stories of Polish-Jewish “ghetto girls” who paid off Gestapo guards, hid revolvers in teddy bears, flirted with Nazis and then killed them. They distributed underground bulletins, flung Molotov cocktails, bombed train lines, organized soup kitchens, and bore the truth about what was happening to the Jews.

I was stunned. I was raised in a community of Holocaust survivors and had earned a doctorate in women’s history. Why had I never heard these stories?

“Freuen” was compiled for Yiddish-speaking American Jews in 1946 in an attempt to share this stunning history as widely as possible. But in the years that followed, these resistance narratives, like many historical contributions made by women, were sidelined or ignored for a variety of political and personal reasons.

Many women who told their stories in their own communities after the war were met with disbelief; others were accused by relatives of abandoning their families to fight; still others were charged with sleeping their way to safety. Sometimes, family members feared that opening old wounds would tear them apart. And many fighters suffered from survivors’ guilt — they’d “had it easy,” they felt, compared with others — and so in later years they remained mostly silent about their experiences.

Several other factors in postwar decades may have contributed to the relative obscurity of this history. In the 1950s, some say, many Jews had trauma fatigue; in the 1960s, the emerging horrors of Auschwitz and other camps became the predominant subject; in the “hippyish” 1970s, stories of violent rebellion were out of fashion; and in the 1980s, a flood of Holocaust books in the United States overshadowed many earlier tales.

My quest to learn more about these women turned into a dozen years of research across Poland, Israel and North America; in archives and living rooms, memorial monuments and the streets of former ghettos. I learned of the scope of Jewish rebellion: More than 90 European ghettos had armed Jewish resistance units. Approximately 30,000 European Jews joined the partisans. Rescue networks supported about 12,000 Jews in hiding in Warsaw alone. All this alongside daily acts of resilience — smuggling food, writing diaries, telling jokes to relieve fear, hugging a barrack mate to keep her warm. Women, aged 16 to 25, were at the helm of many of these efforts. I learned their names: Tosia Altman, Gusta Davidson, Frumka Plotnicka. Hundreds of others[.]

At the center of “Freuen” was a striking testimonial by a woman identified only as Renia K.; it was composed at the end of the war, when she was just 20 years old. Her writing was descriptive, even witty. “For them,” she wrote of the Nazi officers, “killing a person was easier than smoking a cigarette.” I found her file at the Israel State Archives and used the book she published in 1945 and additional testimonies to fill out her story.

Her full name was Renia Kukielka, and she was brought up in Poland in the 1930s in a world of sophisticated Yiddish theater and literature, and some 180 Jewish newspapers. After Hitler invaded Renia’s town, Jedrzejow, and locked her family in a ghetto, Renia escaped and fled through fields. She leapt off a moving train when she was recognized, bargained with the police and pretended to be Catholic. She got a job as a housemaid, nervously genuflecting at weekly church services. “I hadn’t even known that I was such a good actor,” Renia reflected in her memoir, “able to impersonate and imitate.”

Helped by a paid Polish smuggler, she joined her older sister in the town of Bedzin. Before the war, Bedzin had been a largely middle-class Jewish community and a hub for Jewish political parties, which had proliferated in response to the question of modern Jewish identity. A vast network of Jewish youth groups was affiliated with these parties. These groups had trained young Jewish men — and women — to feel pride, live collectively, be physically active and question, critique and plan. They trained them in the skills necessary for “staying.”

After Hitler’s conquest of Poland, the youth groups formed militias. When Renia arrived, Bedzin hosted a burgeoning cell of rebellion organized by secular, socialist-leaning Jewish teenagers and young adults. Those who were forced to labor in Nazi uniform factories slipped notes into the boots urging soldiers at the front to drop their weapons. They constructed workshops where they experimented with homemade explosives and designed elaborate underground bunkers. “Haganah!” was their rallying cry: Defense!

Women who were selected for undercover missions were required to look “good,” or passably “Aryan” or Catholic, with light hair, blue or green eyes, good posture and an assured gait. Renia was one of those chosen. Fueled by rage and a deep sense of justice, 18-year-old Renia became an underground operative, “a courier girl.”

I learned that “courier girls” connected the locked ghettos where Jews were imprisoned. Being caught on the Aryan side meant certain death; despite that, these young women dyed their hair blond, took off their Jewish-identifying armbands, put on fake smiles and secretly slipped in and out of ghettos, bringing Jews information and hope, bulletins and false identification papers, and linking youth resistance groups across the country. They smuggled pistols, bullets and grenades, hiding them in marmalade jars, sacks of potatoes and designer handbags.

As women, they were well positioned to do this work: Their brothers were circumcised and risked being found out in a “pants drop” test. Before the war, Jewish girls were more likely than Jewish boys to have studied at Polish public schools (many boys attended Jewish schools and yeshivas). They were, over all, more assimilated than Jewish boys and spoke Polish without the Yiddish accent, making them excellent spies.

They also took enormous risks. Bela Hazan got a job working as a translator and receptionist for the Gestapo; she stole their documents and delivered them to Jewish forgers. Vladka Meed smuggled dynamite into the Warsaw ghetto by passing bits of gunpowder through a hole in the wall of a basement that lined the ghetto border. She later supported Jews in hiding, secretly bringing them money, medical help and trusted photographers to take their pictures for fake IDs.

Hela Schupper, a beauty who’d studied commerce, dressed up as an affluent Polish woman attending an afternoon of theater, wearing clothes she’d borrowed from a non-Jewish friend’s mother. In 1942 she met a “Mr. X” from the Polish underground on a Warsaw street corner, followed him onto a train and into a safe house, stuffed her fashionable jute handbag, and brought five guns and clips of cartridges to Krakow’s “Fighting Pioneers,” who then bombed a Christmas week gathering at an upscale cafe frequented by Nazi officers, killing at least seven Germans and wounding more.

These women were so unlike me — they were the fight to my flight — and I was becoming increasingly obsessed with them.

Renia ran missions between Bedzin and Warsaw. She moved grenades, false passports and cash strapped to her body and hidden in her undergarments and shoes. She transported Jews from ghettos to hiding spots. She wore a red flower in her hair to identify her to underground contacts, met up with a black-market arms dealer in a cemetery, and slept in a cellar, wandering the city by day to gather information. She smiled coyly during searches on the train, and befriended one border guard to whom she “confessed” about smuggling food to distract him from the real contraband that was fastened to her torso with belts. “You had to be strong in your comportment, firm,” she wrote in her memoir. “You had to have an iron will.”

In Vilna, Ruzka Korczak found a Finnish pamphlet in a library on how to make bombs — it became the underground’s recipe book. Her comrade Vitka Kempner put a rudimentary explosive under her coat, slipped out of the ghetto, and blew up a German supply train in 1942. The Vilna resistance fled the ghetto to fight in the forests, where both women commanded units. Their comrade Zelda Treger completed 17 trips transporting hundreds of Jews out of ghettos and slave labor camps to the woods. In a different forest, a 19-year-old photographer named Faye Schulman joined the partisans, participated in combat missions and performed surgery — she was once forced to amputate a soldier’s wounded finger with her teeth. “When it was time to hug a boyfriend, I was hugging a rifle,” Faye said of her wartime adolescence in a documentary film.

Renia, through cunning and luck, managed to fend off prying Nazis and Poles who attempted to turn her in for a reward — until one border guard noticed her fabricated passport stamp. Imprisoned in Gestapo lockups that prided themselves on their medieval torture strategies, Renia was brutally beaten alongside Polish political prisoners. She masterminded an escape, helped by other courier girls who plied the guards with cigarettes and whiskey. Renia was able to slip away, change her clothes and run. Using an underground railroad set up by Jews, she crossed the Tatra Mountains by foot, then reached Hungary hidden in the locomotive of a freight train. The engineer expelled an extra puff of smoke to hide her departure from the engine.

Renia finally arrived in Palestine, where she was invited to lecture about her experience, and she published her memoir in Hebrew in 1945 — one of the first full-length accounts of the Holocaust. But in her life after the war, she remained mostly silent about it. For many female survivors, silence was a means of coping. They felt it was their duty to create a new generation of Jews. Women kept their pasts secret in a desperate desire to create a normal life for their children, and, for themselves. Renia’s family home after the war was not filled with stories of the resistance, but with music, art and tango nights; she was known for her fashionable tastes, and for her sharp sense of humor. Like so many refugees, the resisters wanted to start afresh, to blend into their new worlds.

Some 70 years after the war, I went to speak with Vitka Kempner’s son, Michael Kovner, on the outdoor terrace of a Jerusalem cafe. “She was someone who went toward danger,” he told me. “She didn’t care about the rules. She had true chutzpah.”

Researching these women, I’ve learned that my family’s narrative is not the sole option for confronting large and small dangers in the world. Running is sometimes necessary, but at other times I can stop and fight, or, at least, pause and discuss. Renia and her comrades were brave and powerful and paved the way for the generations that followed — not just the Ruth Bader Ginsburgs, but also women like me and my daughters. My children should know that their legacy includes not just fleeing, but also staying, and even running toward danger.

When I left the cafe, I found myself on a quiet side road. I looked up and saw the street sign with a name I would have never recognized a few years before: Haviva Reik Street. With Hannah Senesh, Haviva had joined the British Army as a paratrooper, helping thousands of Slovak Jews and rescuing Allied servicemen. Strong female legacies were all around us; if only we noticed, if only we knew their stories.

[Dr. Batalion is the author of The Light of Days: The Untold Story of Women Resistance Fighters in Hitler’s Ghettos (William Morrow, 2020), from which this essay is adapted.  The book is also available as an e-book, as an audiobook, in a large-print edition, and in a young readers’ edition.

[A New York Times review of The Light of Days, “The ‘Ghetto Girls’ Who Fought the Nazis With Weapons and Wiles” by Sonia Purnell, was posted on the Times’ website at https://www.nytimes.com/2021/04/06/books/review/light-of-days-judy-batalion.html on 6 April.

[Deadline, the online entertainment-industry news site, announced that Steven Spielberg’s Amblin Entertainment is developing a film adaptation of The Light of Days, and Batalion along with playwright and screenwriter Michael Mitnick are writing the screenplay.] 

*  *  *  *
“NEW BOOK EXPLORES THE HEROIC 
WOMEN-RUN RESISTANCE INSIDE NAZI DEATH CAMPS”
by Malcolm Brabant
 

[The interview below was broadcast on PBS NewsHour on Holocaust Remembrance Day, 8 April 2021.  It covers the same new book the New York Times essay above discusses.]

Judy Batalion’s new book, “The Light of Days,” details acts of heroism by Jewish women in the ghettos of eastern Europe - and even within the death camps. She documents how female couriers hand-carried crucial messages, weapons, and ammunition as part of the resistance in besieged Jewish ghettos. Special correspondent Malcolm Brabant presents the report for Holocaust Remembrance Day.

Judy Woodruff: Today is Holocaust Remembrance Day, now 76 years since the end of the Second World War in Europe.

A new book out this week, “The Light of Days” by Judy Batalion, details acts of heroism by Jewish women in the ghettos of Eastern Europe, and even within the death camps, who risked their lives to challenge the Nazis.

She concentrates on female couriers who hand-carried crucial messages, weapons, and ammunition as part of the resistance in besieged Jewish ghettos.

Here’s special correspondent Malcolm Brabant.

Malcolm Brabant: Seventy-six years since the Auschwitz-Birkenau death camp was liberated and its railhead of industrial slaughter neutralized, ghosts of the Holocaust are coming to life in new uplifting stories.

One of the wartime heroines portrayed in this book is Bela Hazan, seen here with her son Yoel on the right. Yoel, a brain scientist in Jerusalem, wants the world to know what his mother did in the war to compensate for the torrid reception she received in Israel after surviving Auschwitz-Birkenau.

Yoel Yaari: They used to say, you are sheep who went to the slaughter. And she was treated as such.

Why didn’t you resist? I mean, this was a question. What did you do you were not killed? Did you collaborate with the Nazis? Were you bartering sex for food? Were you a prostitute? I mean, these were questions that were put to her.

Malcolm Brabant: How angry does that make you that your mother’s first period in Israel was so awful?

Yoel Yaari: I’m extremely angry. And this is, of course, one of the reasons why I’m trying to tell her story.

Malcolm Brabant: This picture testifies to Bela Hazan’s courage. She’s between two other Jewish underground couriers.

What makes the photograph extraordinary is that it was taken by a Nazi at a Gestapo Christmas party. Bela worked as an interpreter for the Gestapo. The job gave her a great cover story, which enabled her to travel to cities like Vilnius in Lithuania, where the Jewish resistance operated.

Aged just 19 and masquerading as a Polish Catholic, she became a brilliant spy. Her luck ran out at this railway station in Poland. Despite being arrested, tortured and sent to Auschwitz, she never confessed her true identity.

Yoel Yaari: She interacted with the Gestapo people. What she did was to steal official papers, to put stamps, official stamps on these papers, and she delivered these materials together with information that she gathered when she was in that place. She delivered it all to the headquarters of the underground.

Judy Batalion: They were walking around with cash in their garter belts and dynamite in their underwear.

Malcolm Brabant: The bravery of women in Hitler’s ghettos was buried in an old Yiddish book that author Judy Batalion stumbled upon in the British Library in London.

She has spent 14 years researching women whose exploits have been neglected by history and who she believes should be revered.

Judy Batalion: When I first began this project, I too had a kind of subconscious understanding what they call of the myth of passivity and which is why, when I first found this material by accident, I was blown away.

And now I cannot look at the story of the Holocaust without seeing it as one of a constant battle of resistance and resilience.

Malcolm Brabant: Batalion’s book concentrates on couriers like Chasia Bielicka, eulogized by her granddaughter Hadas in Israel.

Hadas Yahav: You could see it in the Holocaust, of course, the way she wanted to save people and help people and help children. And she didn’t just want to survive. That wasn’t her mission. She wanted to do much more than that.

Malcolm Brabant: Chasia Bielicka’s ability to evade Nazi patrols and checkpoints made her a key player in the Jewish insurgency in Bialystok, these days an ultra-conservative town in Northeast Poland renowned for its hostility to gays.

Eighty years ago under the Nazis, it had a ghetto where Jews were corralled before being dispatched to death camps.

Hadas Yahav: The courier missions was to bring ammunition to the partisans. The partisans were fighting in the forest. They needed ammunition.

The women that she was with tried to find always places where they could steal ammunition, bring it to the forest or to the ghetto sometimes.

Judy Batalion: These women showed bravery and courage and cleverness and bravado, against all odds.

Malcolm Brabant: As long as they appeared sufficiently Aryan, women could move more freely around occupied Poland than men, who were supposed to be working during daylight hours. The couriers exploited a naive German belief that women were incapable of sabotage and subterfuge.

Judy Batalion: The biggest militaries in the world couldn’t defeat the German army, but that didn’t matter. What mattered was the fight for justice and liberty.

Malcolm Brabant: Zivia Lubetkin left Poland when Germany invaded. She could have stayed outside the country, but came back

Judy Batalion: Zivia Lubetkin was ultimately a leader in the Warsaw ghetto. She helps get young Jews out of slave labor. She helps them find food. And she fought in two ghetto uprisings. She fought in the Warsaw uprising alongside the Polish resistance.

Malcolm Brabant: The 1943 Warsaw ghetto uprising lasted almost a month, as heavily outnumbered Jewish fighters kept crack German forces at bay. Ultimately, they were overwhelmed, and some partisans died by suicide, rather than surrendering.

Today, only a small portion of the ghetto wall remains, but Zivia Lubetkin’s deeds live on.

Judy Batalion: She escaped through sewers, sewage water up to her neck. And even after the ghetto was razed and she was in hiding, she helped administer rescue organizations that helped thousands of Jews in hiding in Warsaw.

Malcolm Brabant: Although most of the characters in Batalion’s book are couriers, she couldn’t resist telling the story of Anna Heilman, a member of the Auschwitz resistance.

How on earth do you resist in Auschwitz?

Judy Batalion: This is such an incredible story, again, one of those: How did I not know about this?

Malcolm Brabant: Only one crematorium remains at Auschwitz-Birkenau. All but one were destroyed by the Nazis as they fled from the advancing Soviet Red Army.

The other one was blown up by Anna Heilman’s co-conspirators in October 1944. She helped to steal gunpowder from a munitions factory two miles from Birkenau and smuggle it back in the hems of her clothes.

Judy Batalion: It was this very elaborate system, where the people that worked in the room where they packed the powder would take little bits and put it in a waste — the wastebasket on the side. Another round of women would collect that waste, go to the bathroom, take out the gunpowder and hide it in fabric.

Malcolm Brabant: And here is Anna Heilman, in her own words, in Canada in 1996.

Anna Heilman: They used this gunpowder and manufactured little hand grenades made out of metal around boxes of shoe polish with a wick and filled with gunpowder. And when you lit it, it exploded.

Malcolm Brabant: The crematorium was destroyed during a brief rebellion by so-called Sonderkommandos [‘special units’], Jews forced by the Nazis to dispose of bodies from the gas chambers.

Anna Heilman: All the Sonderkommando people were killed. But the crematorium was destroyed as well.

Malcolm Brabant: In retribution, Anna Heilman’s sister was executed.

Anna Heilman: I heard this collective groan, and I knew what happened. I didn’t witness it with my eyes, but I was there.

Malcolm Brabant: In Jerusalem, Bela Hazan’s son Yoel Yaari, is grateful that light is now being shone on this aspect of the Holocaust.

Yoel Yaari: I think it is extremely important, because the story of the couriers is almost unknown worldwide and also in Israel.

Malcolm Brabant: The new book may help elevate these women to their rightful place in history, especially as the author is now working on a screenplay for Steven Spielberg, Oscar-winning director of that legendary Holocaust movie “Schindler’s List.”

For the “PBS NewsHour,” I’m Malcolm Brabant.

[Malcolm Brabant is a special correspondent for the PBS NewsHour.]

*  *  *  *

[I have a personal motivation for republishing the reports above: my mother.

[Mom died at 92 in 2015—just about six years ago now.  She’s been on my mind prominently these days.  Most significantly, I’ve been working on a very long project based on the letters she and my future father exchanged for almost a year in 1945, from just after they first met on 1 January to my father’s return from the army and the end of World War II and his release from the military in December.

[In addition, 7 April would have been Mother’s 98th birthday and next month, on the 8th, is Mother’s Day, and I always used to try to spend one of those dates—or some time in between—with her either here in New York City or at her home in Washington, D.C.

[These stories, though, have made the absence of my mother just now particularly notable.  In particular, the account of Enid Zentelis’s grandmother, the Hungarian spy, because Mother’s family was a teensy bit Hungarian.  Her father’s family had come from Austria-Hungary in the mid- or early 19th century, and Mom used to point to the tip of her little finger and say she was “that much Hungarian”!

[Further, Judy Batalion’s history is compiled in a book.  Mom (whose name was also Judy, coincidentally) loved reading and would have delighted in stories of Jewish and female heroism, and I thought, what a wonderful birthday or Mother’s Day gift The Light of Days would’ve made for her.