A review from the New York Times, November 15, 1965:

'FIFTH COMMANDMENT'

There is an eternal triangle at the bottom of 'The Fifth Commandment" -- as much a universal as a Jewish triangle.

The play that opened at the Yiddish Folksbiene Playhouse Friday is based on the travails of a husband, a wife and the third party. The third party is the husband's aged father two lives in the spare room and does not hit it off very well with his daughter-in-law. Actually, "The Fifth Commandment," by Edmund Morris, is an import from Broadway, where it ran for twelve performances in 1955 as "The Wooden Dish."

The Folksbiene troupe does its usual forceful, earnest job and, although the work seems too long and offers far too many opportunities for the cast to rise to moments of high melodrama, the production continues the company's tradition of being head and shoulders above what other Yiddish theatre there is.

Harry Rubin gives a highly skilled performance as the venerable parent. Sheftel Zak, as always, shows himself to be a knowledgeable and capable actor, this time in the role of the father's visiting son. Mina Kern and David Rogow portray moments of tenderness and anger with understanding. Joshua Zeldis, a veteran, shines as the old man's crony. David Licht has staged the whole thing on a busy stage, and whatever its drawbacks, they lie mostly in the choice of a script.

At any rate, to those who take their Yiddish theatre seriously, without any concessions to Yankee and other foreign influences, the Folksbiene is a heartwarming institution to have around.

-- Richard F. Shepard
 

Clara reveals her plan of sending away the old man to Eddie Morrison, a lodger who has been in love with her for many years.

Suzie Danielson often scolds her mother for treating Grandpa so shabbily.

Because of his failing sight, the old man occasionally breaks objects in the house; this prompts Clara to feed him out of a wooden dish. The old man protests, declaring he's not a dog, nor a cat.

Leib's old friend, Sam Yeager, conjures up a farm in his mind, a mere fantasy, which he plans to buy, he says, so that he and Leib may live out their days in peace and serenity. Sam yeager too has children who are "more distant than strangers" toward him.

The two brothers, Sydney and Morris, arrive. The latter is stunned by his father's decrepit appearance.

The two brothers discuss and bicker about the amount it will cost ot place their father in an old-age home. Says Morris: "If someday I become so old and superfluous as Father, I prefer to be shot like an old dog."

SCENE TWO:

The brothers, pressured by Clara, have decided to place the old man in an old-age house. But there is a troubled air in the house, and the brothers are conscience-stricken for the act they are about to commit.

Bessie is filled with curiosity about Morris and what he remembers of the past. As it turns out, he does not recognize her and has even forgotten her name. She is disappointed and humiliated.

During a noisy checker game between Leib and Sam, Clara lashes out at her father-in-law, shattering the serenity of the Sabbath night.

Mr. Frostman, an agent from the old-age home, arrives with the contract for both brothers to sign. Sam Yaeger pleads with Sydney, the younger of the two, not to send Leib away. "Only among one's own, among children, does life have meaning."

Sydney begins to have second thoughts on the matter and decides not to send away his father. Clara declares she's leaving home. Perplexed, the brothers do not know what to do.

Suzie, returning from the movies with her friend, Jennie, overhears a conversation between Clara and Eddy. Clara pleads with Eddy to aid her in her flight from home; Eddy assents.

The old man shares his most intimate feelings with his "friend" the tree. He has a foreboding that a storm is about to erupt that will carry him off and away from his family. He will not permit this to happen; he must not be sent away, nor the tree be cut down.

SCENE THREE:

Morris is preparing to return to Chicago. The decision about what to do with his father he leaves to his brother Sydney and to Clara.

Bessie ceases reproaching Morris for not remembering their romance and makes peace with him. Spending a sleepless night, thinking about it, she concludes "Such is life ... The years have their own way of doing things."

The Chicago son is saying goodbye to his father. The old man reminds him of the time he was little and the fear he had of thunder and storms; at such times the father sat near the boy's bed until the storm, as well as the danger had passed; now, when the father faces a danger, he, the son, is abandoning him. "Look at me long and well and keep this in mind; before long you too will be old and helpless."

Suzie reveals to Eddy that she'd listened to the conversation he carried on with her mother the previous night." She too longs to leave the house. Would he take her, instead of her mother?" "I've taken a fancy to you some time ago," she tells him, "and I'm younger than my mother." Eddy suspects Suzie is telling him all this because she wishes to prevent him from helping her mother leave. He puts her off by promising to do her bidding.

As Clara packs her belongings, Sydney apprehends her and there is a battle between them. Sydney prevents her from going.

SCENE FOUR:

The old man, having locked and barricaded himself in his room, is prepared to resist.

Eddy leaves the house. Asked to coax the old man to come out of his room, Sam Yaeger replies: "You want me to lure the victim to the sacrificial site? I won't do it!"

The old man enters as Suzie is talking. She tells her grandfather that she has rented a hotel room for both of them and plans to go with him. The old man is deeply moved, but refuses her kind offer; he will not accept such a sacrifice from a young person he loves. For the sake of peace in the family he decides to go to the old-age home. he says goodbye to his "friend" the tree and takes along a pebble as a memento of their friendship. He prevails upon Bessie's husband, Mr. Glick, to strike up a happy tune and leaves the house with Mr. Frostman.

"May you never be called to account for what you've done," Sam Yaeger tells Sydney and Clara.

In the house they find the wooden dish belonging to the old man. "I will put it away," Suzie says to her mother. "Someday you too will grow old!"