Play brought joy to concentration camp prisoners
Survivor to watch T.O. staging of Brundibar by Canadian Children’s Opera Company
The children’s opera Brundibar brought laughter and music into the lives of Czech Jews imprisoned by the Nazis in the Czech Republic.
The music had been smuggled inside the suitcase of composer Hans Krasa and was performed at the Theresienstadt concentration camp more than 50 times.
The story of how two children outwit a mean organ grinder with the help of animals was a bright light amidst the darkness of the camp.
Toronto Holocaust survivor John Freund, who saw the opera in Terezin 75 years ago, will be in the audience at the Harbourfront Centre Theatre as the Canadian Children’s Opera Company performs it.
“It brings to me memories of children, many of whom I knew; most of them were killed in the gas chambers in Auschwitz,” Freund said.
“It represents to me the human ability to dissent against oppressors, in this case Brundibar, who in our minds represented all dictators.”
Dean Burry first came upon the opera in 1998 when he was asked to conduct a school version.
When he recently became artistic director of the Children’s Opera Company, “it seemed the time was right.” Burry finds the piece inspiring. “As artists, we live our lives hoping that the work we do has some impact, some meaning. And for composer Hans Krasa to know the joy he was bringing to not only the performers, but for everyone who saw it, must have been a great comfort to him.” Krasa was killed at Auschwitz.
The play is bracketed by two acts showing concert pianist and Theresienstadt survivor Alice HerzSommer and her son, who performed in a camp production of Brundibar.
She is the subject of the Oscarwinning 2013 short documentary The Lady in Number 6: Music Saved My Life and some of her reminis- cences in the movie will be shown. Its Canadian filmmaker, Malcolm Clarke, partnered with the opera company on this production of Brundibar.
“This opera has dark sides,” said director Joel Ivany. “We want the audience to experience this opera for the joy it is but then have room to reflect on the larger historical aspects of it.”
The children performing in the opera “have all been incredibly professional in terms of what this piece means and are fully giving themselves over to telling the story. That act is incredibly mature and open,” he added.
Ilana Ben-David, 17, who plays the role of Alice, identifies with the character’s concerns about protecting her child as she is the eldest of four children and often responsible for her younger siblings.
She has lately been learning about the Holocaust.
“My grandparents survived. My grandmother would pinch her cheeks red to look healthier. She let them experiment on her to get food.”
Ella Farlinger, 15, also plays Alice (the opera is double cast).
“It’s so uplifting and such a sweet story,” she said. “You can tell how uplifting it must have been.”
This is Claire Wilcox’s sixth year with the opera company and she plays both the role of the son and a monkey, part of the trio of animals who come to the children’s rescue in the opera. Two performers manipulate the puppet while Wilcox provides the voice.
Puppets “are an amazing way to create an animal life force and to connect children with the nature around them,” said assistant director and puppet coach Dana Fradkin. “It brings the children and the audiences into a fantasy world where children love to live.”
Music director Teri Dunn points out that the children drive away Brundibar using the power of their united voices.
“Eventually they assemble all of the children in the town to come together to stand up to him, by singing with one voice. How wonderful to be reminded of the power of friendship, solidarity and music to shape our world.” Brundibar is at the Harbourfront Centre Theatre Friday to Sunday. Go to harbourfrontcentre.com or call 416-9734000.