Perhaps the most insidious goal of the Nazis’ “Final Solution of the Jewish Question” was the attempt to dehumanize the victims, to rob them not just of their lives and property, but of their dignity as well. In ghetto aft er ghetto, Jews spiritually resisted their oppressors by creating art and culture even in the face of almost certain death. Th ey wrote poetry, published underground newspapers, held illegal classes for their children, produced theatrical performances and concerts, and composed music. One of the most notable examples of this collective defi ance occurred in the ghetto/camp of Terezín — Th eresienstadt — where Jewish artists and musicians lift ed the spirits of their fellow inmates with songs and cabaret numbers that allowed them — for a little while — to forget where they were, and where they might be the next day, or the next week, or the next month. I am proud that the World Jewish Congress is sponsoring this unique reconstruction of the cabaret of Terezín, and hope that all who listen to it will feel linked to those composers, authors, performers and audiences who perished at Terezín, at Auschwitz–Birkenau, and elsewhere during the Holocaust, and whose memory this CD honors.

Ronald S. Lauder President, World Jewish Congress THEREsIENSTADT or Terezín, was built as an impressive fortress by the Austrian Empress Ma- ria Teresa to solidify the Hapsburgs’ hold on Bohemia. It later proved a bulwark in their defense against Na- poleon. In 1941, the Nazis decided to turn the fortress into a transit camp for Jews from the German-occupied Czech lands. Th e fi rst transport to the camp arrived on November 24, 1941. Later, when Th eresienstadt housed thousands of Jews, one of its inmates joked in a popular camp ditty “the irony is great. Th e Jews have taken the fortress without fi ring a shot.” Th eresienstadt was used to promote the illusion of comfortable living conditions in the camps of the Reich. In this guise, it had many names: “ghetto for the old,” “ghetto for the privileged,” at the end, even “the town the Führer gave to the Jews.” Aware of the problem of explaining the prisoners did what they did best: entertain. disappearance of vast numbers of Jewish In attics and basements, at fi rst in strict celebrities and intellectuals, the Nazis held secrecy, some of Europe’s most famous them in Th eresienstadt, the “model ghetto.” cabaret stars, with the help of their fellow Along with celebrities, the inmates internees, wrote and performed satires included elderly Jews, gentiles married about captors and inmates alike. to Jews and disabled and distinguished Before long, the Nazis incorporated Jewish veterans of World War One. this extraordinary artistic eff ort into their Although the majority were Czech, there propaganda machine. Th ey distributed were also thousands of internees from musical instruments they had confi scated Germany, Austria, the Netherlands, not long before. An orchestra and a jazz Denmark, Hungary and Slovakia. All told, band, the Ghetto Swingers, were formed. 140,000 passed through the gates of the Adolf Eichmann was among the leading camp. Some 33,000 died there. Another Nazis who journeyed to Th eresienstadt to 87,000 were transported to death camps. savor its art. He had a front-row seat at a concert of Verdi’s “Requiem” conducted Th eresienstadt — the culture by Rafael Schächter, a Prague Jew who was one of Th eresienstadt’s fi rst inmates and Prisoners were housed in cramped worked ceaselessly to perform such works basements, attics, barns and courtyards. as Mozart’s “Magic Flute.” If members of Th e lack of food or decent sanitation led his choir or orchestra were deported east, to outbreaks of typhus and dysentery. Schächter tirelessly trained replacements. Always, there was the terror of transport In October 1944, he was sent to Auschwitz to the death camps. In the midst of these on one of the last transports from intolerable conditions, the celebrity Th eresienstadt. On July 23, 1944, fresh paint, inmates were sent east then, and all but last-minute landscaping and false smiles 1,574 of them were killed. On May 3, 1945 transformed Th eresienstadt into the International Red Cross took over something intended to imitate renowned Th eresienstadt. Five days later, the Red nearby spas. Th e Nazis paraded inspectors Army liberated the 19,000 survivors. from the International Red Cross through these apparently well-appointed facilities, Th eresienstadt becomes contemporary where music rang out at street corners. theater Even jazz — the Ghetto Swingers belting out the St. Louis Blues! Th e fall of Communism brought down Th e fi lm was made to spread to decision the Iron Curtain that had kept and opinion makers around the world Czechoslovakia and the other Soviet the impression of carefree Jews living at bloc nations cut off from the rest of a special spa, or resort. Kurt Gerron, a Europe. Th e well–known Austrian actor famous German actor and director, was an and director Alexander Waechter was inmate in Th eresienstadt and was forced traveling from Vienna to Berlin, and to complete the fi lm before being sent to his route took him through Terezín. Auschwitz. His fi lm survived, cruel proof Slowly, he realized this was the infamous of Nazi propaganda. Th eresienstadt that he had heard about By fall of 1944, the inmates of from childhood — the place where his Th eresienstadt had outlived their great-uncle “Remy” had died. Alexander propaganda value. Th e last transport Waechter began to delve into the history to Auschwitz–Birkenau was completed of Th eresienstadt, a history unknown on October 28 that year — nearly fi ve to most Austrians, whose dual role as months aft er D–Day. More than 18,000 perpetrator and victim of Nazi crimes went largely unexamined for decades aft er you hear on this recording) toured around the war. New York and New Jersey, survivors in In October 1992, Waechter told the audience brought the performers that story in Chansons und Satiren aus unpublished memoirs and on one occasion Th eresienstadt, a tragic but also ironic a missing verse or two! production for three performers — man, woman and pianist. Opposite him was “Th is was a show that had to be Tania Golden, a young Viennese actress created. Th e material would not allow and singer. Sergei Dreznin, a Russian itself to be forgotten or cast aside. When Jewish pianist and composer, was the the lights go down, the audience soon musical director. All the lyrics and poems fi nds that they are newly arrived inmates came straight from Th eresienstadt’s at Th eresienstadt, attending one of barracks, and original melodies written the camp cabaret shows. And, like the in the camp were carefully restored. In actual camp audiences, they laugh, cry, keeping with Viennese tradition, many of tap their feet and are entertained. But, the numbers performed in the camp were beneath this simple cabaret facade lurks well–known hits of the day, adapted to the the true, deeper appeal of the show: Th e grotesque realities of Terezín. Dreznin voice of human perseverance. Th e spirit wrote several melodies to existing poems, of hope.” as did Gerhard Bronner, the “patriarch” of - Th omas Neile, the author (together with Vienna cabaret aft er its near–decimation his wife, Caren) of the English version. by the Nazis, who murdered or exiled nearly all the overwhelmingly Jewish Mr. Waechter’s original Vienna cabaret stars. production inspired a wave of similar shows including Chansons und Satiren aus English version Th eresienstadt in Memmingen, Germany, Hurray to Life in Tel–Aviv, Voices From An English version called KAMP!, Th eresienstadt in Oslo and Just As If… at inspired by Bronner, was fi rst produced the 78th Street Th eater Lab in Manhattan. and presented in December 1994 by Michael Maurer in Boca Raton, Florida, Th e French version Cabaret Terezín with Dreznin as musical director. Th e followed in 2008; directed by Isabelle audience included survivors of the Georges and produced by Josette Milgram, Holocaust. Th ey gave the show a standing it enjoyed a successful run in Th eatre ovation. Later, when KAMP! featuring Marigny in Paris, and is still touring in Amelia DeMayo and Curt Buchler (whom France.

6

Text: Leo Straus Just like sand slips through your fi ngers 1. Come right in! All those cares will disappear But one fi nal question lingers Friends and comrades, don’t be shy now How do we get out of here? Has the rat race got you down? Is the sky fresh out of pie now? Schlesinger Come right in. And stick around. 2. Maria Th eresia the Empress

Does the landlord want the rent, folks? Maria Th eresia the Empress Does he tail you like a hound? Told her architects one day Is the rent already spent, folks? You will build me a strong, solid fortress Come right in. And stick around. To keep the Northern hordes at bay.

Does your life drag? Does your wife nag? “Make the walls double high, double thick Do those tiny cares abound? Dig the moat double deep, double quick.” Well, before you wave the white fl ag And so the garrison was built Come right in. And stick around. Defying all who would invade her So well had the architects obeyed her. First the plumbing, then the numbing Pain, your head begins to pound Napoleon, they say Are you sick and tired of slumming? Stayed half a league away Come right in. And stick around. No foes could prevail No armies assail Are you living in some basement? Until this very day. In some dreary part of town? Put an end to your displacement Th e irony, I’m sure you’ll see Come right in. And stick around. For irony’s our lot here. If all that tar and nicotine Th e Jews have conquered easily Has turned your lungs from pink to brown And never fi red a shot here. I recommend a change of scene Come right in. And stick around. Ilse Weber 3. Th eresienstadt nursery rhyme And must you wear that yellow star On which society has frowned? Dum-deedle-ay, Here, they don’t care who you are. it’s like a holiday, Come right in. And stick around. rum-dum-deedle-ay,

8 we’re driving in the hearse today. where sunlight never falls upon your face We’re stopping here and stopping there, and people disappear without a trace. we pick up corpses everywhere, A stranger’s love, a kind and gentle hand dum-deedle-ay, protects you, though you hardly understand. it’s like a holiday. Your island in a dark and rising sea. Rum-dum-deedle-ay, Hold her hand; and you’ll be touching me. what once was ours is gone away, But here we live upon our hands and knees dum-deedle-ay, and suff ering from the very same disease. what’s gone is gone to stay. Crowded in this dungeon we remain No more comfort, no more fun, together in our slumber and our pain. the hearse is moving everyone, Has time begun to change the boy I’ve dum-deedle-ay, known? what’s gone is gone to stay. I wonder how much you must have grown. Th ink of the day when we shall meet again, Rum-dum-deedle-ay, perhaps you’ll have forgotten me by then. they make us pull the hearse all day, Th e languages we speak won’t be the same, dum-deedle ay, the only words we’ll share will be your name. tt’s all a game they play. Here, the children live without a lullaby. If sorrow was our only freight, I nurse them, and I hold them when they cry. the hearse would break beneath the weight, And in their tiny faces I can see dum-deedle-ay, A part of you that’s still a part of me. it’s all a game they play. Like me, the words I write to you, my dear. Will crumble to the ground and disappear. Ilse Weber 4. Letter to my child Karel Svenk 5. Th eresienstadt march My darling son, it was just four years ago, you went out into a world I’ll never know. Heaven knows! So it goes! Th e train in Prague was crowded, I recall If you’re really on your toes a thousand frightened travelers, and you You can rise above the chaos so sublime. so small. Have you heard? How absurd! And as it pulled away, I heard you cry, Th ey are counting every word “Come with me, mama. Goodbye!” (We can send no more than thirty at a time.) If you could see this crowded little room in damp and dusty barracks fi lled with But the morning brings us hope, gloom, And the hope will ring us pain

9 And the pain can bring us laughter, Th eresienstadt! And it all begins again. Heaven knows! So it goes! Tell me, do you mean to say...? We are always on our toes. I know you fi nd my meaning clear. On the ruins of the ghetto we will laugh! How can people live that way? No one says you have to, dear. Leo Straus I can’t hold out any longer. 6. Th eresienstadt questions Surely I will die from hunger! Two women: one has just arrived in “Hunger” sounds much worse, you see Th eresienstadt, the other is an experienced Th an “vitamin defi ciency.” inmate Th eresienstadt, Th eresienstadt, More than a ghetto, it’s a habitat. I have just arrived in town Th ere is no other town around like Would you like congratulations? Th eresienstadt! Might I take a look around? I’ll prepare a delegation! What about a place to stay? So many things I’ll need to know Just a little hideaway. Where did all my luggage go? Something large, something spacious. You won’t need your luggage, dear. Not too gauche or ostentatious. We don’t do much traveling here. My wife could make it warm and quaint. Th eresienstadt, Th eresienstadt, Perhaps a fresh new coat of paint. Th e only ghetto with a Welcome Mat. Our barracks can be very nice. Th ere is no other town around like So many bunks, just take your choice. Th eresienstadt! Th eresienstadt, Th eresienstadt, A cosy ghetto with a nice, warm fl at. Tell me, is the climate good? Th ere is no other town around like Good for everything but breathing. Th eresienstadt! Can you tell me, how’s the food? Bad for eating — good for teething! Tonight I might go into town. Surely, there must be a way My wife has brought her evening gown? To be fed three meals a day. While some stand on formality, Don’t be healthy, that’s the trick. Still others choose reality. Th ey only feed you when you’re sick. I really am not very sure Th eresienstadt, Th eresienstadt, Are evening jackets de rigueur? Come to a ghetto where you can’t get fat. My husband rarely dresses formal. Th ere is no other town around like Otherwise our lives are normal.

10 (they dance to a Vienna waltz) It glides most enigmatically. Th ere is no other town around like Changing feathers constantly Th eresienstadt! First a sparrow; then a hawk Th is little bit of idle talk I could use a little rest. Runs before it learns to walk. Th e journey has exhausted me. And a rumor goes through town! My husband needs his trousers pressed. And a rumor goes through town! A hot bath would be heavenly! From mouth to mouth. Perhaps a nap will do the trick! It’s From north to south. Good to sleep your life away. It misses not To take a bath you need a ticket. A single spot. Th at could come as soon as May. And it hurries. And it scurries. I’d like to write my friends and kin Igniting. To tell them of the place I’m in. And inciting I’d like to end their worrying, Desperation. Might we be home before the spring? False elation. It’s hard to say exactly when Turning anger into friction. You will see your home again. Is it fact or simply fi ction. It’s hard to say exactly when It fulfi lls its own prediction. You will see your home again. Will we fail? Yesterday I heard a rumor... Will hope prevail? (the music overpowers the singing) Will we live to tell the tale? Tell the tale. Walter Lindenbaum Tell the tale. 7. A rumor goes through town Tell the tale. And a rumor goes through town! It starts with just a single word. And a rumor goes through town! Someone told me... have you heard? Falling back… Just a clue. Might be true. Attack! Attack! Something new to misconstrue. Someone sabotaged the track. Meanings blurred, till things inferred Hide your feeling. Become absurd. Paint is peeling. Soon the harmless little word So-and-so has been caught stealing. Starts to fl y just like a bird Putting sawdust in the bread, now. From roof to roof. Tree to tree. All the mail is being read, now.

11 Bedrich Fritta, Sammelunterkunft auf dem Dachboden, Th eresienstadt 1943-1944

Mandatory registration. I’ll get Reco, that’s just what I’ll do.” Something moving at the station. And a rumor goes through town! Old Mrs. Kornblatt was really suff ering. And a rumor goes through town! She told her husband, “My dear Solomon, Yet, the silent fear Take my word, it’s a crying shame. Still remains. First they weigh me like so much butter, Th e special trains. Th en they all shake their heads and mutter, Th e special trains. Th en there’s poking and there’s prodding Th e special trains... Pretty soon everyone is nodding, Th en there’s prodding and there’s poking Th eodor Otto Beet And they say, “Ma’am, you must be joking, 8. Reco You’re a long distance from starvation, And in no need of extra ration, Old Mrs. Kornblatt was really suff ering You have the right to protest, She told her husband, “My dear Solomon, But fi rst get down from the scale and get I cannot last another day. dressed.” Now you know I am not a cynic But three months lying in that clinic... Old Mrs. Kornblatt was really suff ering. Now I won’t lose my nerve She told her husband, “My dear Solomon, A little Reco, that’s what I deserve.” Who’d believe life could be so hard? Just the mere notion of complaining Old Mrs. Kornblatt was really suff ering. Can be so emotionally draining She told her husband, “My dear Solomon, First they send me to Dr. Klein You will see I will get my way. On the third fl oor in number nine I applied for a touch of ointment Where they tell me, “Th is cannot be! But they asked me, “Have you an You want the ninth fl oor in number three.” appointment?” Th en I get to my destination So by Monday at three I And I’m still in the wrong location. ‘ll get Reco, just wait and you’ll see.” And a man tells me not to worry, But I’m lost and I have to hurry. Old Mrs. Kornblatt was really suff ering. So I choose any old direction She told her husband, “My dear Solomon, And wind up in the proper section, Th ere’s a pain right between my eyes. Where Dr. Klein, when at last I fi nd him, Dr. Klein looked at me and said, Forgets my name, so I must remind him. “All this pain is only in your head.” He says, “Yes, I recall your face now. But before I am through But I’m still baffl ed by your case now.

14 You request something supplemental, But he’d never, oh never, leave me behind. But my staff thinks it’s only mental. I was his companion, he was my best friend. We could tell from our initial meeting We belong together ‘til the bitter end. Th at you’ve quite got the knack of eating. I’m a proud little bag, I’m quite well–made And if you desire something added From genuine leather of the fi nest grade. You’d do fi ne if you weren’t so well padded. My hinges are sturdy and my seams well–sewn If you don’t fancy our decision We came here together, now he’s all alone. Take this note to the health division. He was old, he was blind, but he loved me so Th ere’s a chance, but one never knows now Did they take him away? Did he have to go? But I think they’re about to close now.” I will wait in the courtyard patiently So I told them goodbye and farewell In a pile of little bags just like me. I don’t want Reco — they can all go to hell! Not so long ago, I was clean and full With bread and with pills and with socks Th eodor Otto Beer / Kurt Klauber of wool 9. Ghetto guard Now my locks are broken, and my leather is scratched I bear the strain I’ve a dirty face, and a rusted catch. I don’t complain I’ve been plundered and robbed till I’m all I’m just humanity’s protector. used up In word and deed Nothing left but a rag and a little tin cup. I quite exceed I will wait forever for the little blind man Th e very highest standards, naturally And I still feel the touch of his soft white Th ere is no place hand. I’d rather be It’s a mystery. Could you please explain? And if a passing girl I see Why little brown bags must wait in vain? I stand increasingly erect I’m a little brown suitcase from Frankfurt And on my duties I refl ect. on Main. Will I ever see my master again? Ilse Weber 10. A suitcase speaks Hans Hofer 11. Th e theater ticket I’m a little brown suitcase from Frankfurt on Main I had a long talk And I look for my master in the pouring With my friend Mr. Clay rain. Who wanted to go He wore a yellow star, he was old and blind To the theater one day.

15 Th ey’re selling the tickets Who shouts, “Go to the next Said someone who knew Section. Th is one is full.” In section 11 Well okay thinks Mr. Clay In room 22. Th ough I hate to be treated this way. And so Mr. Clay With a bounce in his walk At last Mr. Clay Goes to section 11 Finds the section he seeks Not stopping to talk. But the tickets aren’t good Well okay thinks Mr. Clay For another 6 weeks. It’s the start of a wonderful day. Th e look on his face Makes the ticket clerk laugh. In section 11 Why there’s some who’ve been waiting In room 22 A year and a half. He slowly discovers It sure doesn’t help His journey’s not through. Th at you chose La Boheme When a man says, “You’ve come If you’d only picked Tosca To the wrong place I fear Th ey’re almost the same. We just manufacture Well okay thinks Mr. Clay Th e tickets up here. Who needs La Boheme anyway? If you’re looking to buy some I think you should go Aft er two months of waiting To the Leisure Department. He’s tired and numb It’s 3 fl oors below.” His opera tickets Well okay thinks Mr. Clay Have fi nally come Th en I really must be on my way. He goes to the theatre Th e same as before When he fi nally fi nds But the show is postponed Th e department of leisure Says the sign on the door. It seems the whole place A week from next Tuesday Has come down with amnesia It’s playing again Should he wait in a line So if you want to see it Well no one is certain You’ll have to come then At this rate he might Well okay thinks Mr. Clay Miss the opening curtain. I’ve waited this long anyway. Th en out steps a man With a face like a bull So he promptly returns

16 On the specifi ed date Th ey look at his ticket But the line is so long And tell him that this must He will just have to wait. Be used on the Monday When he gets to the doorway Just following Christmas. His patience worn thin Well okay thinks Mr. Clay Th ey’ve locked it up tightly Th at’s only a few months away. Th ey won’t let him in Th e theater is full, Soon the very idea Said the man at the door, Of seeing a show “Come back in two weeks Makes him sick and disgusted And we’ll try it once more.” Why bother to go? Well okay thinks Mr. Clay I’ll go to the Leisure Th ere’s nothing to do but obey. Department and say, But when he comes back “Please give me a refund. Aft er 14 long nights Let’s call it a day.” Th e power department So he waits in the line Has turned off the lights. Like he did once before He comes back the next night But they tell him his money’s But Tosca’s not playing. Not here anymore. It’s a new dance recital Well okay thinks Mr. Clay He says, “I’m not staying. I’ll try section 11 today. I paid to see Tosca I can’t abide dance!” But the strain was too great Th ey tell him next week For my friend Mr. Clay Th ere’s an excellent chance. He says. “No human being Well okay thinks Mr. Clay Should be treated this way. I guess there’s no Tosca today. La Boheme turns to Tosca Which turns into dance Th e next time it’s cancelled But not until Christmas!” He asks them quite boldly, He raves and he rants, “Just what’s going on here?” “Monday is Tuesday Th ey answer him coldly, And Friday’s postponed. Th e tickets for Tuesday Don’t talk about opera Are good for next Monday Just leave me alone!” Th e tickets for Friday Well okay thinks Mr. Clay Are good for next Sunday. I’ll go crazy. It’s better that way!

17 Unknown How are you Mr. Sauer? 12. Mr. Sauer, Mr. Green How are you Mr. Green? Declining by the hour How are you Mr. Sauer? I know just what you mean. How are you Mr. Green? Th ey had a food inspection, Declining by the hour Two dozen chefs came by. I know just what you mean. Why did they need so many? I haven’t seen you lately, Th ey were hungry. Have you been keeping well? So am I! I’ve got a new psychosis! And for the second helping In here it’s hard to tell. Commissioners dropped in, I stand around for hours Th ey brought their wives and daughters Counting numbers very loud. And all their closest kin. Why don’t you act more normal? So what is left for us now? Because it’s not allowed. Two lentils and a bean! Th ey drill us in the courtyard... Good evening, Mr. Sauer! A bothersome routine! Good evening, Mr. Green! Good evening, Mr. Sauer! Good evening, Mr. Green! Leo Straus 13. Th e chefs are coming How are your Mr. Sauer? How are you, Mr. Green? Come gather ‘round from far and wide Declining by the hour To fi ll that empty space inside I know just what you mean. Something’s cooking... can it be? Do you attend the theater, Old bread and cabbage — come and see. For a concert or a play? Make way! Th e chefs are coming. I can’t get any tickets, Are coming, are coming It’s the same thing every day. Make way! Th e chefs are coming. You’ve got to be more forceful Th e chefs are coming Th row some weight around, you know! Come hear the counters opening wide My friend, the way they feed us, Th e chef in white, like a fat new bride Th ere isn’t much to throw. Th e lines are long, but who protests? Now you come to mention it, It’s lunch for forty thousand guests. We’re both a little lean... All hail! Th e serving ladies! Good evening, Mr. Sauer! Th e ladies, the ladies Good evening, Mr. Green! All hail! Th e serving ladies!

18 Th e serving ladies When the big bell tolls, don’t ask for whom, And the music plays along. If you’ve been toiling at hard labor And the supper bowls go tap tap tap You’ll get more than your lazy neighbor. Our stomachs groan and our fi ngers snap If love and ethics you profess And the food we get tastes just like You’ll be glad to know they feed you less. And the music plays along. Bow down for the cooks and waiters! Th e saxophone, the slide trombone Th e waiters, the waiters Th e double belled euphonium Bow down for the cooks and waiters! Th e drum and fi fe, you bet your life Th e cooks and waiters It’s total pandemonium It’s clear if you’re here you can’t escape If second helpings you desire this song Stand up and raise your bowl up higher And the music plays along. And hear the serving woman say, Whether Mozart, Bach or Schumann “Go home, there’s no more food today!” Andante’s all we do, man. Sing ho! Th e meal is ended! We keep it slow. For who can know Th e meal is ended...! When the time may come to leave. Th ough the atmosphere’s symphonic, Walter Lindenbaum All our lives are disharmonic. 14. And the music plays along When things get bad, or make us sad, We simply make–believe. I cherish to distraction When VIP’s are looking Th ose of musical extraction We know just what to do: For music charms, in fact disarms We pretend that nothing’s cooking Th e dark and savage breast. Th ough we know we’re in the stew! I don’t mean to be pedantic And the people stand around the room But when the tempo gets too frantic While the kettledrum goes boom boom It strains the nerves and badly serves boom. Th e tired and depressed. When the big bell tolls, don’t ask for whom, It greets us at the station And the music plays along. And follows us to bed. And the supper bowls go tap tap tap When we need an extra ration Our stomachs goan and our fi ngers snap We get Off enbach instead! And the food we get tastes just like (crap) And the people stand around the room And the music plays along. While the kettledrum goes boom boom Th e saxophone, the slide trombone boom. Th e double belled euphonium

19 Th e drum and fi fe, you bet your life Believing every lie It’s total pandemonium Just as though the lies were true. It’s clear, if you’re here you can’t escape Th e coff eehouse reminds them of the song Th e one they used to know. And the music plays along. And when the music plays, Th ey all sigh, “It’s just as though...” Th e saxophone, the slide trombone Here a man may be your master Th e double belled euphonium And make you hoe the row, Th e drum and fi fe, you bet your life Th ough used to be hour servant It’s total pandemonium In here it’s just as though. My friend we must pretend that there is Th ey drink their morning coff ee nothing wrong Just as though it wasn’t fake, And the music plays along. And goodness, every Saturday And the music... and the music... It’s just as though there’s cake! And the music always plays along! One lies upon the fl oor, Just as though it were a bed, Leo Straus And it’s just as though a dream 15. Just as though Might go dancing through one’s head Th ey wear their rags quite proudly I know a little town Just as though they’re ties and tails Where the Chosen people go When make–believe is real It’s name is not important; Th en one’s mem’ry seldom fails. I call it “Just as though.” Th ey speak of other towns On rainy days they act Just as though they all could move Just as though the sky was blue And talk of better times Just as though things might improve. I. I’m sure you’d like to go there Some people like to take vacations No need to raise your voice Up in the hills or on a ship. It’s only for the Chosen But, as for me, I have no patience Just as though there was a choice. For so extravagant a trip. When they return from their excursions Walter Lindenbaum Filled with worldly repartée 17. Th e little café I say the sweetest of diversions Is only just a stroll away. In Terezín there’s a little café You’ll fi nd me there Down in Prater trees are swaying For that is where Leaves are dancing in the air I spend my day In my heart there’s music playing And what I drink, I pretend is champagne For my sweetheart meets me there. It helps me dream I’m in Vienna again Every aft ernoon we meet here Where I belong — in my dear old café For our dreamy rendezvous And I’ll be dreaming my worries away And the world is gay and sweet, dear I think of the past and of what might have Here in paradise with you. been — Th en I’m awake and I am back in Terezín. II. Th en we were given a vacation Leo Straus / Otto Skutecky Against our wills, we said goodbye 18. Down in Prater Now you are in some Eastern nation (Th eresienstadt Vienna Song) And in Th eresienstadt am I. But in our dreams, we fl y together And I caress your lovely face they walk in a sad little queue I know the sun will shine forever Here in a town of castaways In our very special place... they have been cast away too Surrounded by walls and wire and guns, Down in Prater trees are swaying herded together by fear. Leaves are dancing in the air A pitiful fl ock of people and sheep, In my heart there’s music playing where in the world but here? For my sweetheart meets me there. Every aft ernoon we meet here Leo Straus For our dreamy rendezvous 20. Th eresienstadt currency And the world is gay and sweet, dear Here in paradise with you. Yesterday I got a package Like a bolt out of the blue Ilse Weber I went running to the offi ce 19. Th e sheep of Lidice Just to see if it was true.

Milky white sheep drift ing by I found waiting for me like a cloud in a fairytale sky Wrapped up and tied with a string Th e shepherdess follows behind them I was just a little package singing a soft lullaby But it could be anything.

At fi rst it’s almost like dreaming I brought it to my tailor but soon the nightmare is clear Who for such a long, long while Something is wrong, it doesn’t belong. Left my slightly damaged trousers Th e breath of sorrow is near. At the bottom of a pile.

Milky white sheep drift ing sadly So I handed him the package wander so far from home When much to my surprise Ashes and death lie behind them, He took my trousers out endlessly onward they roam And fi xed them before my eyes. Th e village they come from is gone now murdered by vengeance and hate Now the tailor took the package A very small town in Bohemia And fl ashed a little smile and such an unthinkable fate... As he brought it to a woman Th at he’d fancied for a while. Th ese are the sheep of Lidice,

22 He presented her the package With voluminous details. And her eyes fl ew open wide Or to follow every step of She took him by the hand and said: Th ese circuitous travails. “My darling come inside.” One night I was performing Th en at Andre’s beauty parlor In a little cabaret With peroxide in her hair I sang a song and danced She handed him the package Just like Maurice Chevalier. With a look of savoir faire. Later in my dressing room, A gal came to the door But still it remained unopened And handed me a package Still wrapped and tied with string It was one I’d seen before, It was just a little package But it could be anything. But it still remained unopened, Still wrapped and tied with string So Andre brought the package It was just a little package To the cobbler up the street But it could be anything. Who gave it to his laundress As an extra little treat. Now twice this little package Had been sent to me by fate. And the laundress had a baby So I opened it that evening Who was fond of milk and cheese. I simply could not wait. And the milkman swapped the package For protection if you please. My look of disappointment Was impossible to hide. Th e protector had an oven Th ere were just some broken dishes Th at was very low on wood And some bottle caps inside. And the woodman bribed a waiter For a little extra food. So I quickly got a postcard And I sent a nasty note But it still remained unopened To the man who sent the package Still wrapped and tied with string You should see the things I wrote! It was just a little package But it could be anything. But when I think it over I really must admit Th ere’s no need for me to bore you Th is package brought a smile to

23

Everyone who handled it. Kopper 22. Th ey seek one another Th ere’s a lesson to be learned From this infl ationary tale: Deep within this ghetto Th ough your money may be worthless A silent building stands Human nature will prevail. Its doors are unaccustomed To the touch of human hands. Pavel Friedmann 21. Th e butterfl y Inside, a sea of twilight Lies upon the marble tiles Th e Butterfl y. Th ere is no sound — no movement It was the last. Th e very, very last. In the long and empty aisles. It fl uttered by so soft ly and disappeared so fast. No bells toll out the hours Blinding colors. Binding spring and No penitents no grace summer. Only cold unmoving statues Hope so bright. Staring heaven in the face. Th e yellow wings. Th e shining, fl ying fl ower. In this empty house of Jesus Between the winds and climbing, His spirit lingers still Above the highest tower. With folded hands he watches Ever running. Never dying. While Satan works his will. Wishes taking fl ight. Down to Earth, I follow. And outside the shadows gather Stranded in this ghetto. As the days are fi lled with pain Among my people, tired and weeping Th rough the torment and the hunger Sad and sleeping. Jews seek their God In God’s keeping. Jews seek their God It’s the last. It must have been the last. Jews seek out their God in vain. Butterfl ies and wishes Butterfl ies and wishes Manfred Greifenhagen / Martin Roman Live only in the past. 23. Carousel

Long ago the sun was brighter “Butterfl ies and Grass” by Margit Koretzová (April And our childish hearts were lighter 8,1933 — October 4, 1944) We could laugh the days away

25 We’d conspire with one another Around in a circle we’re spinning. Dearest father, darling mother, On time’s gilded horses we fl y. We were very good today Trapped from the very beginning. Our fondest wish they knew so well... We play. But we never know why. Carousel! Oh pretty please, the carousel!

Around in a circle we’re spinning Ilse Weber On bright wooden horses we glide. 24. Potato peeler We knew from the very beginning, We’re here ‘til the end of the ride. I’m peeling potatoes, nothing’s said, We don’t know the game, but we’re with a hundred other women. learning. I sit in this dark and dingy shed We play but we never know why. all day long, just left to dreaming. We can’t stop the big wheel from turning, We’ll watch as the world hurries by. Stories are told but I do not hear what the other women are saying. Pipe organ plays, songs without ending. My thoughts fl y far, they avoid what’s near Carnival tunes that ring in your ears. And my hands they keep on peeling. Soon, we’ll be grown, no more pretending. Truth will abide down through the years. My thoughts are full of sorrow and pain for my daughter who perished in Poland. Now we all have some desire. Th e others seem not to have such a strain, Even wretched fools aspire. in secret their laughs are stolen. Hoping for a brighter day. But the lowest are the proudest Brown potatoes keep rolling on When they learn to cry the loudest. piling on top of each other. Yet the echoes fade away. To Dachau they sent my darling young son. If only one wish could come true... Why did God let him suff er? Something new. Oh how they yearn for something new. Time wears on; I’m fi lled with fright, my hands full of hacks and aching. Pipe organ plays, songs without ending. My grandchild died of typhoid last night. Carnival tunes that ring in your ears. When will my own life be taken? Soon, we’ll be grown, no more pretending. Truth will abide down through the years. Potatoes and peel, that’s all I see, never ending peels of potatoes.

26 In the dead of night they sneak up on me Th anks to my dear old cabaret and turn my dreams to a nightmares. Every singer and musician Th e peels come alive, they hiss and they curl Filled with rhythmic ammunition like serpents pursuing their fancy. Th ey help us fi ght the pain and heartache Chased and surrounded I’m in a swirl, day by day I’m a captive and I’m at their mercy. Feel the music and the rhyme Songs of “once upon the time”... Daybreak comes, I’m back in the shed Maybe, once upon a time they will come sitting from dawn till the evening. back one day! I’m peeling potatoes, nothing’s said, Sweet dreams of yesterday with a hundred other women Th anks to our dear old cabaret How can I go on without you Frie da Rosenthal I’m simply mad about you 25. My dear old cabaret Oh my dearest darling CABARET! On the wooden steps I’m kneeling With a sad a hungry feeling It’s like the cloud that darkens all my All songs except hopes each day Potato Peeler Th en the sound comes gently drift ing translated and adapted I can feel my spirits lift ing by Th omas Neile And I hurry down to hear before it fades away Potato Peeler Hunger is gone away translated Th anks to my dear old cabaret by David Keir Wright When my hard work is behind me I need something to remind me pp. 20-21: Th ere’s music and there’s laughter in the drawings by world somewhere dessins de : A song from France and then a Leo Haas (1901 - 1983). Lovely waltz from old Vienna I close my eyes and listen And I’m almost there I hear the music play Dr. Leo Straus Th eresienstadt (ou Terezín) est d’abord résistance possible avec l’arme ultime — le une forteresse construite par l’impératrice rire. Une centaine d’œuvres musicales sont autrichienne Marie–Th érèse pour composées, des milliers de dessins et de consolider l’emprise des Habsbourg sur la peintures sont créés, en plus des milliers Bohême. En juin 1940, la Gestapo prend le de pages de journaux intimes remplies et contrôle de Terezín et installe une prison de poèmes écrits, plus de 2000 conférences dans la Kleine Festung (petite forteresse). sont données sur les sujets les plus En novembre 1941, le site est transformé en variés — et on publie même des critiques ghetto muré servant de façade à l’opération de spectacles! Les Nazis utilisent cet d’extermination des juifs sous l’impulsion engouement artistique pour alimenter leur du chef des SS Reinhard Heydrich. Pour le machine de propagande; ils redistribuent monde extérieur, Terezín est présenté par même les instruments de musique les Nazis comme une colonie juive modèle; confi squés peu de temps avant. alors qu’il s’agit véritablement d’un ghetto Parmi leurs actes les plus cyniques, en qui sert également de camp de transit pour juin 1944 les Nazis donnent à Terezín, en les juifs acheminés vers Auschwitz et les quelques coups de pinceau, l’apparence autres camps d’extermination. Au total, d’une pimpante station balnéaire. Ils 140 000 juifs sont déportés à Th eresienstadt. paradent une délégation de la Croix–Rouge Un quart d’entre eux, soit environ 33 000, à l’intérieur des prétendues installations, meurent sur place principalement à cause d’où la musique fuse à chaque coin de des conditions de vie atroces (famine, rue, pour entretenir l’illusion de juifs stress excessif, maladie, épidémie de insouciants vivant dans un prétendu typhus à la fi n de la guerre, etc.). 87 000 centre de villégiature. Cette gigantesque autres sont transportés dans les camps imposture se poursuivra, allant jusqu’à d’extermination. Le dernier transport pour forcer un tournage de fi lm destiné à Auschwitz–Birkenau a lieu le 28 octobre tromper le monde entier: Le Führer donne 1944; à peine 5 mois après le débarquement. un village aux juifs. Sous ce titre, le casting 18 000 prisonniers sont déportés vers l’Est le plus cruel de toute l’histoire du cinéma. et il ne restera que 1574 survivants des Engagé de force dans le rôle du metteur en chambres à gaz. Le 4 mai 1945, la Croix– scène, Kurt Gerron, acteur et réalisateur, Rouge internationale s’empare de Terezín sera expédié à Auschwitz aussitôt le et 5 jours plus tard, l’Armée rouge libère les tournage terminé, avec sa femme et la quasi 19 000 survivants. totalité de la distribution. Dans cette ville prison, la seule liberté est C’est en octobre 1992 qu’Alexander de créer. Les artistes continuent d’exercer Waechter, acteur et metteur en scène leur art, surtout la musique, seule forme de autrichien bien connu, décide de raconter

28 l’histoire de son grand oncle Raimund l’Holocauste. S’en est suivi une série (Remy) dans Chansons et Satires de de représentations à Florida et à travers Th eresienstadt; un spectacle de cabaret d’East Coast entre 1998 et 2004 avec sur comprenant poèmes et chansons. Un scène Amelia DeMayo et Curt Buckler. hommage à tous les artistes de Terezín. Cabaret Terezín, a été produit en 2008 à L’idée lui est venue pendant son voyage Paris par Josette Milgram, présenté avec entre Vienne et Berlin, l’amenant à visiter succès au Th éâtre Marigny, avec le soutien Terezín et réalisant peu à peu toute de Pierre Lescure, de la Fondation pour la l’histoire derrière ces murs. Une production Mémoire de la Shoah, de la Ville de Paris et tragique, mordante et ironique pour trois du Ministère de la Défense. Le spectacle est interprètes; un homme, une femme et un toujours en tournée en France. pianiste. Waechter écrit, dirige, raconte et chante. Face à lui, Tania Golden, une jeune Résumé des paroles des chansons actrice et chanteuse viennoise reconnue. (pp 8 - 27) : Sergei Dreznin, pianiste et compositeur juif russe, en est le directeur musical. Il 1. Bienvenue compose avec Gerhard Bronner, légendaire Incapable d’arrêter de fumer? Vous compositeur et interprète, patriarche aimeriez perdre du poids? Votre loyer du cabaret viennois, plusieurs chansons est trop cher? Voici la solution à tous vos inspirées du style de chacun des artistes problèmes — venez à Terezín! originaux — complétant ainsi chansons 2. L’impératrice Marie-Th érèse et poèmes écrits à l’intérieur des murs Napoléon n’a pu s’emparer de de Terezín. Th eresienstadt. Les juifs l’ont fait sans Un soir de 1993, Bronner, vivant à même tirer un coup de feu. l’époque en Floride, de retour de Vienne, 3. La comptine de Terezín se rend à la résidence de son ami Tom Neile, Les enfants jouent et chantent en tirant parolier à ses heures, avec un épais paquet le corbillard — le principal moyen de de feuilles et lui demande d’adapter les transport dans le camp. textes en anglais: “C’est un spectacle qui 4. Lettre à mon enfant se joue en ce moment en Autriche, dans Une lettre non acheminée d’Ilse Weber des salles où les spectateurs s’entassent à son fi ls envoyé par elle dans une nouvelle même debout. Je veux le faire adapter résidence en Suède. pour le public américain!” KAMP! a été 5. La marche de Terezín présenté pour la première fois en décembre Et sur les ruines du ghetto nos rires 1994 par Michael Maurer en Floride, dans sonnent faux… Un refrain du premier le public on retrouvait des survivants de cabaret de Th eresienstadt, Vive la vie!, par le

29 ‘Chaplin tchèque’ Karel Švenk 11. Billets de théâtre 6. Terezín: questions et réponses Les aventures tortueuses d’un homme Un dialogue grotesque entre deux qui veut obtenir un billet pour une femmes: une nouvelle arrivante présentation dans le ghetto. prétentieuse et une détenue d’expérience. 12. Monsieur Sauer et Monsieur Green 7. Une rumeur court dans la ville Deux hommes, un optimiste et un Comme le feu produit par l’étincelle, pessimiste, s’échangent les plus récents des rumeurs en circulation rapportent potins du camp. la nouvelle. Un seul sujet reste tabou: les 13. Les chefs arrivent trains qui vont vers l’est... Saluons les cuisiniers! Ils incarnent la 8. Reco véritable aristocratie du ghetto, ils sont ses Une femme se plaint à son mari des authentiques rois et dieux. vaines tentatives de voir les responsables du 14. Et la musique continue camp leur ajouter une ration. Dans l’orchestre du camp, tout le 9. Le garde du ghetto monde aimerait être premier violon — cela Une déclaration de foi de ces protecteurs n’augure pas bien! de l’Humanité, droits dans leurs bottes, 15. Comme si au garde-à-vous… surtout quand une fi lle Je connais une petite ville pour le peuple passe devant eux… choisi — comme s’ils avaient le choix... 10. Une valise raconte 17. Le petit café de Terezín Je suis une petite valise, je suis née à Dans un petit café de Terezín, tu rêves de Francfort, mon maître a disparu, je le Vienne. Tu te réveilles — et te voilà de retour cherche encore… à Terezín.

Kurt Gerron Walter Lindenbaum IIse Weber Hans Hoff er 18. Au Prater, à Vienne… 22. Ils se sont cherchés l’un l’autre Elle est quelque part dans l’est, tandis Une église désertée, au cœur du qu’il se trouve à Terezín... mais dans leurs Ghetto, la maison de Jésus abandonnée, rêves ils sont ensemble et se promènent là où Satan fait son œuvre. Et où les juifs comme d’habitude au Prater de Vienne. cherchent leur Dieu, en vain, dans ces jours 19. Les moutons de Lidice sombres… En représailles à l’assassinat du dirigeant 23. Carrousel nazi Reinhard Heydrich, tous les hommes Il y a longtemps de cela… le soleil brillait du village de Lidice ont été tués. Les détenus deux fois plus qu’aujourd’hui, le cœur léger, de Terezín sont forcés d’enterrer les corps. nous pouvions rire de tout, comme des Leur récompense: un troupeau de moutons. enfants tournant en rond sur des chevaux 20. Un colis fait sa tournée… de bois, jusqu’à la fi n du tour de manège… Un colis, arrivé comme par miracle, 24. Éplucheur de pommes de terre passe de main en main pour atterrir à Les pelures de pomme de terre nouveau entre les mains de son premier s’enroulent sans cesse, comme le destinataire, qui fi nit par l’ouvrir et par monologue d’une vieille femme qui a perdu découvrir son très décevant contenu… ses enfants dans les camps de la mort. 21. Le papillon 25. Merci, mon bon vieux cabaret ! Poème écrit par un jeune garçon de Quand on chante, on ne ressent plus 14 ans. Il s’agissait du dernier, du tout la faim. Une chanson joyeuse écrite pour dernier... Les papillons ne vivent pas dans la 1000e (!) représentation aux casernes les ghettos. du camp.

Th eodor Otto Beer Sandra Kreisler Cabaret Terezín Sergei Dreznin

Ameli DeMayo

Curt Buckler

32 Performers on the album Sergei Dreznin, a Moscow–born, Berlin– based award–winning pianist and composer has been dubbed “the Soviet Gershwin” Curt Buckler has performed KAMP! in the Soviet–era Moscow underground in Boca Raton and Ft. Worth, Florida, scene. Since 1988, he has seen 16 of his Washington, DC, London and State of New musical theatre productions staged in York. Other credits include national tour Europe and the U.S. He appears regularly of Guys and Dolls as Big Jule, the Music at the prestigious music festivals incl. Bard Man, Kiss Me, Kate and the hit Yiddish- Music (New York), the Sviatoslav Richter American review 2nd Look at 2nd Avenue, in Tarusa, Russia and Annecy Classic Annie Get Your Gun with Bonnie Franklin, in France. His award–winning Russian La Cage Aux Folles with Shelly Berman. He musical epic Catherine the Great is running also played Perchik in Fiddler on the Roof since 2008 in Russia to sold–out houses. opposite his father’s Tevye. He performs in Other shows include Romeo & Juliet in two original cabarets around the country, Sarajevo, YAMA — a Whorehouse Musical, Parody Tonight and Lost Broadway. He is Ophelia — opera in blue, Victory Over the the author of a children’s book Louches in Sun and 24 heures de la vie d’une femme the Couches. starring Isabelle Georges. Amelia DeMayo has performed extensively Bonus tracks in musical theater and opera. International credits include companies of Cats, Les Sandra Kreisler lives as freelance director, Miserables (Cosette), Into the Woods singer, actress in Berlin, Zurich and (Cinderella) and Sophisticated Ladies Vienna, several CD releases and live shows (Soubrette). Regional credits include Eva throughout the German speaking area, Peron in Evita, Grace Farrel in Annie numerous prizes, one book release. Warbucks and Maria in West Side Story. She was a soloist with the opera company Isabelle Georges is a well–known French Opera Lyrica Europa. Roles include Rosina chanteuse, dancer and actress, the leading in Th e Barber of Seville, Zerlina in Don lady of Michell Legrand’s musical Le Giovanni, Oscar in Un Ballo in Maschera, passé–muraille, Maury Yeston’s Titanic and Blonde in Die Entführung aus dem Serail, Sergei Dreznin’s 24 heures de la vie d’une Despina in Cosi Fan Tutte, and Pamina in femme. Alongside with David Kruger and Th e Magic Flute. Amelia has been a member Olivier Ruidavet, Isabelle has performed in of the KAMP! cast for nearly a decade. Cabaret Terezín since 2008.

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Recorded: New York, April 2015. Enregistré: New York, Avril 2015. Th is recording is made under exclusive license with Cet enregistrement est sous licence exclusive avec Sergei Dreznin. ℗ 2015 Sergei Dreznin. ℗ 2015 Producer: Sergei Dreznin. Réalisateur: Sergei Dreznin. Recording Engineer: Mike Wuerth, Th reshold Studios Preneur de son: Mike Wuerth, Th reshold Studios NYC. NYC. Montage: John Guth. Editing: John Guth. Cet enregistrement a été rendu possible grâce à la Th is recording was made possible thanks to the générosité du Congrès juif mondial. generosity of the World Jewish Congress. “Papillons et l’herbe” par Margit Koretzová (8 Avril “Butterfl ies and Grass” by Margit Koretzová (April 8, 1933 – 4 Octobre 1944), gracieuseté du Musée juif 1933 – October 4, 1944), courtesy of the Jewish Museum de Prague p. 24. in Prague p. 24. “Encombré dans le grenier”, par Bedřich Fritta “Crowded in the Attics” by Bedřich Fritta (September (19 Septembre 1906, – 8 Novembre 1944), gracieuseté 19, 1906, – November 8, 1944), courtesy of the Jewish du Musée juif de Berlin pp 12-13. Museum Berlin pp 12-13. ANALEKTA ANALEKTA Producteur, Directeur artistique: François Mario Labbé. Executive Producer, Artistic Director: François Mario Directrice de production: Julie M. Fournier. Labbé. Assistante de production: Kathleen Désilets. Production Director: Julie M. Fournier. Photo de couverture: © Lina Prokofi eff . Production Assistant: Kathleen Désilets. Maquette: Serguei Prokofi eff . Cover photo: © Lina Prokofi eff . Studio photos KAMP! © Blaga Ditrow, Layout: Serguei Prokofi eff . www.lushlifefi lm.com Studio photos KAMP! © Blaga Ditrow, Photo Cabaret Terezín: © Josette Milgram. www.lushlifefi lm.com Groupe Analekta Inc. reconnaît l’aide fi nancière Photo Cabaret Terezín: © Josette Milgram. du gouvernement du Québec par l’entremise du Groupe Analekta Inc. recognizes the fi nancial Programme d’aide aux entreprises du disque et du assistance of the Government of Quebec through the spectacle de variétés et le Programme de crédit d’impôt SODEC’s Programme d’aide aux entreprises du disque pour l’enregistrement sonore de la SODEC. Nous et du spectacle de variétés and refundable tax credit for reconnaissons l’appui fi nancier du gouvernement du recording production services. We acknowledge the Canada par l’entremise du ministère du Patrimoine fi nancial support of the Government of Canada through canadien (Fonds de la musique du Canada). the Department of Canadian Heritage (Canada Music Fund). AN2 8789 Analekta est une marque déposée de Groupe AN2 8789 Analekta is a trademark of Groupe Analekta Analekta Inc. Tous droits réservés. Fabriqué au Canada. Inc. All rights reserved. Made in Canada. Collage of “Stolpersteine” — stumbling stones, brass plaques inserted into the pavement in Berlin. Remember those deported to Th eresienstadt.

« Stolpersteine » — plaques de laiton encastrées dans la chaussée de rues de Berlin. En mémoire des déportés à Th eresienstadt.