A History of the Folksbiene

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A History of The Folksbiene

Generations of Green Fields
by H. Leivick

1974-1975 Season

Central Synagogue Auditorium
123 East 55th Street
New York, NY

			Joshua Zeldis et al in "Generations of Green Fields" Courtesy of the Museum of the City of New York
			Joshua Zeldis et al in "Generations of Green Fields" Courtesy of the Museum of the City of New York

The Cast of Characters:		A review of this play appeared in the New York Times on November 26, 1974:
		THEATRE: 'GREEN FIELDS' A Warm Glow Marks Yiddish Production by Richard F. Shepard It has been a long time since we have been treated to as warm and tasteful a helping of Yiddishkayt as is now being served by the Folksbiene in its sixtieth-anniversary production, "Generations of Green Fields," at the Central Synagogue Auditorium, 123 East 55th Street. The Yiddish play, a theatre piece with music, positively glows with the East European Jewishness of bygone days. Based on the works of Peretz Hirshbein, and adapted and directed by David Licht, "Green Fields" deals not so much in plot as in mood. Yet, more than a tin-type, it was a sensitivity and beauty and hominess that go deeper than mere description. It is an expertly performed play that captures the feeling of a vanished folk. Contrary to most Yiddish dramas, "Green Fields" has a fairly simple story line, with the complexities and depths emerging in the telling. It is the story of a pious, humane and tolerant man who is persuaded to become the teacher of hardy Jewish farmers in the Ukraine toward the end of the eighteen-hundreds. He becomes a rabbi, but all the way through he yearns to give up leadership, to be free of other people's cares, to lead the life of a contemplative. "It's really no job for a nice Jewish boy," a rabbi sitting near me said, sotto voce, drawing on a hallowed gag line for his text. It is basically a comedy, rippling with laughter, and immeasurably enhanced by music -- most tunefully provided by Lazar Weiner, with thoughtful lyrics by Itschak Perlow. It is also visually enlivened by dances choreographed by Lillian Shapiro. But most beguiling is the cast, an attractive assortment of talent, young and handsome, and older and superbly seasoned -- unfortunately, too many to single out more than a few here, although all are deserving. Herschel Fox, who plays both the rabbi as a youth and later, the rabbi's son, is most appealing, a sort of Yiddish James Stewart. What's more, he has a fine voice that really puts the songs over.

And what's a Yiddish show without the support of the acid, poker-faced comedy of Zypora Spaisman, who is with us again as a mother and a grandmother. Eileen Penn is a personable young woman who fetchingly tells those not in the know in the house what it is all about in English.

The Folksbiene, which performs weekends, is probably the oldest continuing theatrical troupe of any language in New York and happily halfway to the traditionally hoped-for lifespan of 120. If it keeps up like this, it should do the second half in a breeze.