It was in March 1996 when I first met Ela Weissberger, née Stein
in her home in Tappan, New Jersey, USA. She was one of my first survivors of the Holocaust whom I interviewed for a radio-documentary about the performances of Hans Krása's children opera Brundibár
in the Theresienstadt Ghetto. Ela belonged to the cast, even played one of the main roles, the cat. As "The Cat with the Yellow Star" - title of a children's book about her - she became known over the years, the more Brundibár conquered the stages in Germany, in the Czech Republic and then all over the world, in Canada, America and other places.
For our project with and about "The Girls of Room 28"
Ela played a pivotal role. When I said good-bye to her in March 1996, she said: “ I will go to Prague in September to meet with my friends of Room 28. If you like, you can join us.” No question, I did. And then it all started what would become Room 28 Projects - a book, an exhibition, a theatre-play, an educational project, the NPO Room 28 e.V. and so much more.
The inspirational power of these "girls" - then women in their mid-sixties - was overwhelming. And sure this was and is the reason why it became a never-ending project, a project that continues to develop up to this very day. All of these women added some special idea, some special aspect, perspective and quality to our project, and of course all their recollections and experiences.
When walking along the Elbe river in Spindlermühle, where we met every September since 1998 for many years, Ela once said to me - and I wished to bring her voice alive to you (it would be possible, the tapes are here, but need to be digitalized):
"We always remember our friends from Theresienstadt. Every time I speak to an audience in America I ask them to join me for a moment in remembering these girls, and all the children of Theresienstadt. Because no one knows these children apart from us, the few who survived. We have them in our thoughts and our hearts, and we see them before us: their faces, their eyes, their personalities, and everything that we experienced with them. That’s why we want the book to be publised. And we hope that some day we will come together and dedicate the book to younger generations and to future generations, and send them on their way with our wishes for a better life.
We hope that they may see that we did our best to pass on our memories and the love that comes with these memories: the love that the adults—our counselors and teachers, the artists, and so many others—gave us in those black days.
I believe that a great many children today could use the kind of love we knew back then.”
I never forgot these last words: "I believe that a great many children today could use the kind of love we knew back then". They still puzzle me. This is fore sure: Ela's words are part of the power that made me do what I did and what kept the project alive until today, and I hope will keep it alive as well in the future.