May 4, 2023
A Message from Arnold Mittelman
After a career in not-for-profit and commercial theater spanning more than 40 years I was honored in 2007 to found the National Jewish Theater / Foundation and in 2010 to assume leadership of its Holocaust Theater International Initiative.
Although theater has played an extraordinary role from the 1930s to today in Holocaust awareness and education, I was shocked to discover there was no comprehensive theater initiative that sought to make understood that body of work to Holocaust educators, officials, theatrical companies, students and the general public. Even though such different fields as nonfiction, memoir, music and film surrounding the Holocaust have all been well covered and researched, the exception of Holocaust-related theater was a glaring artistic void in our collective understanding. With no comprehensive infrastructure in place to promote the utilization of theater in its historic role as an instrument for social change and education, theater artists, Holocaust museums and scholars remained isolated in their efforts to shed light on the complexity of the Holocaust and its legacy. Read More
January 8, 2023
by Robert Skloot
2022 NJTF HTII Lifetime Achievement Award
AHO Winter Conference, Miami, FL
I’d like to begin my remarks by asking the question that all of us have been asked often: “Why do you do the work you do?”
There are, of course, many answers, but I’d imagine that most of us would point to a sort of personal, necessary compulsion to spend time, and invite others to spend time, thinking about and feeling about one of the most tragic and influential events of human history. And because most of us are artists and scholars, we are obliged to use the skills and experiences we have to report on what we have learned,
Of course, much has been said and written about the importance of studying, teaching and performing our understanding of the Holocaust and even doing it with laughter; the best example of this were the Jews of Theresienstadt who performed music, cabaret and theatre as ways to resist the exterminatory mission of the Nazis. Doing this, they also preserved, and increased, the amount of Jewish culture that would be left as their legacy for us even if they didn’t survive.
Theatre, music, film, art and dance are today, because of you, the five fingers of the hand of this mission of ours, in doing what we do. Let’s just say that what we are doing is necessary for the health of our culture and our responsibilities to history.
June 10, 2017
Elie Wiesel’s Plays as Kaddish: The Sacred Duty to Remember and Resist
By Prof. Lori R. Weintrob
Director, Wagner College Holocaust Center
This article is an expanded version of remarks presented by author in conjunction with the National Jewish Theater Foundation /Holocaust Theater International Initiative 3rd Annual Remembrance Day Play Reading program honoring Elie and Marion Wiesel
Elie Wiesel expressed faith in the power of dialogue, words spoken aloud, to be transformative. Urging survivors to speak and the next generation to listen, Elie Wiesel pledged “Whoever hears an eyewitness, becomes an eyewitness”(1). Wiesel first said these words in Jerusalem at Yad Vashem on the 57th anniversary of his liberation from Buchenwald concentration camp. He then related how on the day of his liberation, he joined a group of Jewish adolescents in celebrating their freedom by saying Kaddish, the Jewish prayer for the dead. An orphan at age 16, he had a sacred duty. Wiesel explained: ”I thought that this Kaddish would never end; it would last until we died, and in a way I was right.” The Kaddish prayer elevates the soul of the deceased, as the mourner calls upon the community to publicly affirm their faith. Similarly, words of testimony spoken aloud turn us away from anger and hatred to God and man and indifference to the suffering of others, towards a shared ethic of faith and hope.
Wiesel believed in words spoken aloud—in testimony, prayer or theater—as a powerful motivating force against fascism and genocide. His first staged performance, A Black Canopy, A Black Sky, and his other theatrical writings are vehicles to remember and resist indifference to others. A Black Canopy, A Black Sky, written for the 25th Anniversary of the Warsaw Ghetto Uprising questioned why the world and God didn’t do more to aid the Jewish fighters, why they perished. In these works, as in the Kaddish prayer, “memory is a sacred duty,” a conversation with God reflecting responsibility for others (2). Like the Kaddish, theater can be a communal form of remembrance and a call to action and solidarity. Read More
January 27, 2017
CLICK HERE to Download Press Release
HOLOCAUST THEATER INTERNATIONAL INITIATIVE BECOMES PART OF THE UNIVERSITY OF MIAMI’S SUE AND LEONARD MILLER CENTER FOR CONTEMPORARY JUDAIC STUDIES.
Through research and educational programs, the Holocaust Theater International Initiative fills a void and is the only comprehensive universitybased initiative focused on the importance and relevance of holocaust-related theater.
CORAL GABLES, FL (January 19, 2017)
The National Jewish Theater Foundation (NJTF) and the University of Miami’s Sue and Leonard Miller Center for Contemporary Judaic Studies (http://www.miami.edu/miller-center) have announced that the pioneering NJTF Holocaust Theater International Initiative (HTII) has become a part of the UM Miller Center, creating the first comprehensive university-based initiative of its kind.
The aim of the HTII is to advance research and educational programs – as well as to encourage theatrical productions – in support of its focus on the importance and relevance of Holocaustrelated theater in educating about, and commemorating the Holocaust.
Since 2007, the NJTF has presented theatrical works that celebrate the richness of Jewish heritage and culture. Under the leadership of Arnold Mittelman, its founder and president, the NJTF promotes the appreciation and preservation of Jewish musical and dramatic theatrical art. As one of the foremost performing arts organizations to focus exclusively on Jewish theater, NJTF is committed to educating the public on Jewish content and themes. NJTF productions are presented to diverse audiences across America and throughout the world. Please see www.njtfoundation.org. Read More
January 15, 2016
USC Shoah Foundation and National Jewish Theater Foundation Collaborate to Launch ‘This is What I’ve Scene,’ First Ever Theater-Related Activity To Be Provided to Students Worldwide Via IWitness Website
Click Here to Download Press Release
Los Angeles, Dec. 8, 2015 – USC Shoah Foundation – The Institute for Visual History and Education and the National Jewish Theater Foundation and its Holocaust Theater International Initiative have developed a new theater-based activity for the Institute’s IWitness website that guides secondary students to develop historical narrative monologues using testimonies of Holocaust survivors, witnesses and liberators.
Called “This is what I’ve ‘Scene’: Theatrical Depictions of Survivor Stories,” the activity was authored by the National Jewish Theater Foundation, which celebrates creativity and preserves Jewish culture in the performing arts.
Using the activity, students will construct a monologue, and learn how to dramatically enhance their presentation by creating and staging tableaus, which give the monologue added visual interest and help to illuminate the stories. Read More
October 26, 2015
During the month of October 2019, the University of Wisconsin – Whitewater, Theatre and Dance Department will produce Resort 76, Shimon Wincelberg’s drama of the Lodz ghetto. The play will run concurrent with complementary scholarly programs on campus and within the community. During the run, Bella Bryks-Klein (daughter of Rachmil Bryks, author of the source material that Wincelberg adapted for his play script) will visit from Israel to speak and attend the production.
“Nein! Zay musen vissen,” this quote is pulled from the afterward in the current print edition of A Cat in the Ghetto by Rachmil Bryks. The afterward is written by the author’s daughter, Bella Bryks-Klein. This particular quote, which she ascribes to her father, translates to, “No, they must know.” I include it here because of what it says in comparison to the oft repeated “never forget.” Both are strong statements, but Bryks’ admonition is aggressive and forward leaning. It prompts the question, what is next after we have not forgotten? Is it enough that we simply continue to remember?
May 9, 2015
On April 13, 2015 arts, educational and memorial organizations across the country united by participating in the first ever Remembrance Readings for Holocaust Remembrance Day (Yom HaShoah). This event was conceived and launched by the National Jewish Theater Foundation (NJTF) as a way of harnessing the unique power of theater to remember the Holocaust, honor its victims, and foster subsequent conversations about lessons learned for future generations. It draws upon material from over the 600 plays made accessible in this catalog.
Participating organizations in this historic inaugural event include:
- La Jolla Playhouse – Intelligence-Slave by Kenneth Lin
- The Old Globe – The Revisionist by Jesse Eisenberg
- North Coast Repertory Theatre – The History of Invulnerability by David Bar Katz
- Intrepid Theatre Company at Leichtag Foundation Ranch – The Substance of Fire by Jon Robin Baitz
- The Theatre School at De Paul – Ghetto by Joshua Sobol
- Genesis Stage at the Illinois Holocaust and Museum Education Center – The Last Cyclist by Naomi Patz
- Theatrical Outfit at the Balzer Theatre – The Soap Myth by Jeff Cohen
- Imagination Stage – Nivelli’s Way by Charles Way
- Untitled Theater Company #61 at Czech Embassy in conjunction with Israel Embassy – source: Performing Captivity and Beyond: Songs and Sketches from Terezin by Lisa Peschel
- The Temple Emanu – El Skirball Center, co-presented by the Polish Cultural Institute New York – Our Class by Tadeusz Slobodzianek
- Remember the Women at Center for Jewish History – Gretel Bergmann by Cynthia Cooper, Excerpts from In The Underworld by Germaine Tillion and Wild Wind Blows by Cynthia Cooper
- Eastern Florida State College – I Never Saw Another Butterfly by Jewish children from Prague imprisoned in the model concentration camp Theresienstadt
- Michal-Ann Russell Jewish Community Center – Butterflies No Longer Live Here by Fernando Hurtado.
Arnold Mittelman, NJTF Founding President and Project Director of its Holocaust Theater International Initiative stated, “I sincerely hope that Remembrance Readings engenders participation, education, identification and empathy that only live theater exemplifies and delivers in a profound way. I hope that the use of theater in this manner and in education grows in years to come”.
April 26, 2015
Published by Remember the Women Institute
by Rochelle G. Saidel
Remember the Women Institute published in April 2015 an online Women, Theatre, and the Holocaust Resource Handbook, available as a free downloadable PDF accessible from the website, www.rememberwomen.org. This handbook is one of the Institute’s projects dedicated to giving women their place in Holocaust history.
The 68-page Women, Theatre, and the Holocaust Resource Handbook has bibliographies with annotated hyperlinked descriptions of plays about women and the Holocaust, plays about the Holocaust by women, and related books. The plays listed range from those actually written during the Holocaust, some within concentration camps, to those being scripted and performed today. The handbook was written by Remember the Women Institute’s founder and executive director Dr. Rochelle G. Saidel and educational consultant Karen Shulman. There is an introduction by Dr. Saidel that provides details about the topic of women, theatre, and the Holocaust. Read More
January 18, 2015
Reviving a Comedy Written in Terezín in 1944
By Naomi Patz
I’ve been obsessed with the cabaret called THE LAST CYCLIST for the past twenty years. Here’s how my involvement began: I had come home on a wintery Thursday morning in 1995 from meetings in Israel, jet-lagged and tired. My husband, Norman, who was for many years the rabbi of a synagogue in New Jersey, met me at the airport and told me he needed a big favor. Every four years our congregation hosted “Hagigah,” a regional creative arts weekend for high school students in the Reform Movement, and the conclave was beginning the next day. This year’s theme was to be the Jews of Czechoslovakia: the medieval period, especially stories of Rabbi Loew and the Golem, and the Holocaust years, with a particular emphasis on the unique creativity that took place in the Nazi concentration camp they named the Theresienstadt Ghetto, located in the Czech fortress town called Terezín.
A large part of the Hagigah program would focus on the production of a play to be performed by the drama workshop, with other workshops responsible for scenery, costumes, music and playbill and publicity. The difficulty was that the planners had expected to have a writing workshop create the play on which the rest would be working – which wouldn’t work, of course, because the other groups couldn’t begin until they had a script in hand. So what was the favor? Would I write the script – immediately? After being momentarily taken aback, I said yes. Read More
January 14, 2015
What Were They Thinking: Archiving Anne Frank
By: BOB ABELMAN
Playwrights did not begin to describe and interpret the Holocaust experience until a decade after the end of World War II. It takes time to heal, generate the strength to reflect, and find a clear and steady voice.
The most influential and lasting American effort was “The Diary of Anne Frank,” the 1956 adaptation of a young girl’s journal by two Hollywood screenwriters, Frances Goodrich and Albert Hackett. To a large extent, the play’s accessibility and popularity stem from its dramatic realism and the alluring thread of Anne’s innocence and optimism within the context of the atrocities occurring outside her secret annex.
CLICK HERE to read entire article >>
May 2, 2014
Enacting History:A Practical Guide to Teaching the Holocaust through Theater
Mira Hirsch, Janet E. Rubin, Arnold Mittelman, Routledge, 2020.
Dramatizing Survivor Trauma and its Effects on the Second Generation
Gene A. Plunka, Routledge, 2017.
Martin Sherman: Skipping over Quicksand
Tish Dace, Jefferson, NC, & London: McFarland, 2012.
Plays of the Holocaust: An International Anthology
Elinor Fuchs, Theatre Communications Group, First Edition edition, 1993
Stages of Annihilation: Theatrical Representations of the Holocaust
Edward R. Isser, Madison, N.J.: Fairleigh Dickinson University Press, 1997
Spectacular Suffering: Theatre, Fascism, and the Holocaust
Vivan M. Patraka, Bloomington and Indianapolis: Indiana University Press, 1999
Performing Captivity, Performing Escape: Cabarets and Plays from the Terezin/Theresienstadt Ghetto
Lisa Peschel with a Preface by Ivan Klíma, Seagull Books
Holocaust Drama: The Theater of Atrocity
Gene A. Plunka, Cambridge: Cambridge University Press, 2009 Read More
March 4, 2014
By Tish Dace
Martin Sherman’s shattering Holocaust play Bent became the most-produced play worldwide written by an American during the 20th century’s last quarter. It receives productions 35+ years after its 1979 premiere at London’s Royal Court Theatre because bigots still slaughter or punish people who’re gay or “other.”
As of May 1, 2011, when the manuscript for my Martin Sherman: Skipping Over Quicksand went to press, 54 countries had seen Bent.
Conspicuously absent from the list which begins my Appendix A were Muslim countries, black Africa (save only South Africa), most of Asia, and dictatorships. Homophobia prevented mountings in the very countries which most would have benefitted from it, those countries where touching hearts might change minds. Read More
February 27, 2014
As contemporary genocides and atrocities continue to ravage civilization, theater artists voices will not and do not remain silent.