|
When the Yiddish actors' union asks
for advice, I would sell tickets to the probes, at which new actors
will [either] be taken in, or they will be rejected. In the Union,
there is not an interesting production that can be seen anywhere. It
is true that they should have taken a large theatre, instead of the
hall of the Actors' Club. It would have been worth the business.
What is interesting about the probes
is not the poor candidate of the stage, but the "audience." It comes
from this public organization that accepts most of the actors; each
one of them alone an "expert." Each one of them is not gloomy,
agitated and build what is called [a] "probe." And almost every one
of them failed at their first examination, and had to work more on
their examination. There is also such a group of people who also at
their second probe, suffered a setback, and was taken into the Union
by a third "examination."
They know well what it does to the
heart, what it takes for their examination. they know what one lives
through at the moment when one performs for them on the stage, and
in the hours before one performs... And what is there to deny? They
are no longer human beings, with human feelings and human hardships.
They really like it. People would probably explain that in their
enjoyment [was] their revenge for the shame and cruelty that they
themselves had experienced years ago.
The first to go "on fire" last Tuesday
was the young Marty Baratz. During the year Marty has played on the
Yiddish stage "with privileges," already appearing to have a wedding
[on stage.] He is, however, not old enough to be a master, and his
Yiddish is, after all, the "true Yiddish" of an American-born.
Although he made his examination as a buff-comic, the first scene he
played was that of a dramatist. The second even was a youthful
type--of a "Galician wedding."
The voters, after the examinations,
were confused. Near the stage stood two huts, one for the women and
one for the men, and there the ballots were given out. the writer is
well-known for his work for the actors' union. He stands in relative
contact with his manager and members, and he knows that they gave
too many examinations, and that the voting is strictly confidential.
They were rejecting effectively. In the presence of everyone present
at the probes, and there was no "monkey business," it could thereby
not be stopped.
There were those present in the
actors' club, after each "probe," found out who would be let in, and
who would not. With the abilities of the majority of candidates
already known by the staff.
It's the first one of the "probes." In
the coming six or seven weeks, there will be a "probe" each week.
Therefore, however, the audience is fresh, holiday-like--they come
to see and judge, to feel that with their ballot hey could make or
reject one of them as a member of the profession.
Charlotte Goldstein made her
examination. She is the daughter of the well-known actor, Jacob
Goldstein. Her father was playing in the province [at the time of
her examination], and did not know about his child's examination.
Her grandmother came, the actress Annie Shapiro. The grandmother sat
in the very first row, and from the blossoming faces could one see
the hearts working for their "organs"-- that the grandchild did not
worry?
A young man, dressed in white, and
with a black crown of hair, made the beautiful Charlotte--a young
woman of seventeen or eighteen--made a pleasant impression.
She recited "Dem shokhet's tokhter."
"The Shoykhet's Daughter" is a classic Yiddish ballad. The father
finds out about her love affair and tells the girl that once the
young man matures he will leave her. Her beautiful long braids are
cut off while she sleeps to destroy her beauty. It was necessary to
consider the "public" when Charlotte had recited the thing. First of
all is that every one sat with an open smile on their lips.
Gradually they had closed it. Because it is an examination, they are
"judges," and that is only an act. From the faces the smiles come
out. The moving faces have taken a close look at the content of the
lines that the young woman had recited--the actors were indeed
becoming true viewers, a true audience. And when the candidate had
finished, the assembled applauded, as they applauded to the sway of
a powerful scene.
One could see clearly that Charlotte
had succeeded. She is still young, a bit unforgettable--but she has
temperament. She is young and beautiful.
"Nevertheless," called out an elderly
colleague, a writer who is well-known in Yiddish theatres,
"nevertheless" until I am ready, she will not make it in [to the
union.] She will have plenty of "no's."
"With the 'no's' she will not need to
be embarrassed ," Willy Pasternak calls out (he is the known Willy
of Molly Picon's theatre), "and Molly didn't receive nine 'no's'?
That Molly was able to get in? She also fought..."
By Molly he meant Molly Picon. She
also made her examination. Incidentally, there were a few
celebrities who emerged from their examinations: Ludwig Satz, Aaron
Lebedeff, Sam Kasten, William Schwartz, Anna Appel [and] Berta
Gerstin. There were the managers of the theatres, writers,
musicians, movers and shakers.
"These were those who came to buy [a
piece of] merchandise," Jacob Cone knew about the managers.
"They want to see who will, and who
will not get in. As quickly an actor will fail, they will be hired
by him," jokes Menasha Skulnik, and his face is serious.
People are waiting "in line" for the
[voting] booth. It is noisy in the hall. A "hu-ha." Lebedeff goes
around and speaks in rhymes.
I was sent here by my grandmother,
She wants that I should vote at the probe;
For Charlotte, Betty, Buloff, Marty,
No matter who gives yes's for them, make her....
Reuben Guskin runs around the hall and
keeps an eye on things. He feared that the guard at the door might
make a mistake and not admit Halilah, an honored guest, that
it will further hide the gossip of the union. He does not see that
an actor, one with a second, that the second may vote. He snaps out
of it--feh, not nice. Everyone has to agree, as his
conscience dictates. Briefly, Guskin is so "busy," that he asks of
his own daughter:
"Please, sit yourself, Miss... Miss,
sit yourself."
He did not recognize his own
friendship.
In the hall it was finally quiet, and
Betty Simonoff comes out. She sings a number from Sholom Secunda's
operetta, "Oy, America," which was currently playing in the Rolland
Theatre. Her voice, a soprano, pure and clear, literally enchanted
the audience. The trills flowed easily and spirited from the heart,
and she served up the high notes without a sign of effort. When she
finished, this brought a storm of applause and "bravos" from the
hall.
Actors jump up from their places,
struck, to be instantly woken. It is not necessary that she should
perform in the second scene. But others shouted: "No, she must
perform! Why not? Sometimes is a person's voice heard at probes? How
many prima donnas can succeed with several dramatic sopranos? Until
the gvalden shtilen zikh one had Miss Simonoff, the wait is
over, and she then] performs in a costume of a gypsy girl. She sings
a number from "Sweet Moments." Not only does she have a classical
voice, but she also knows how to maintain herself on the stage.
"So, it is from Casher's stage
direction," says Anna Appel.
All around her laugh it up. The joke
came in, that Izidor Casher, who is the stage director of the
Rolland Theatre, is sitting up and is mingling, simply out of
anxiety. She acts in his theatre.
From the amount of applause that Miss
Simonoff had received, it was easy to she that she will enter "groys"
into the union. And she had no one give her "no's." Such had never
happened to that point. Even the prima donnas had voted for her.
There was also in the unanimity of
vote an expression of recognition of Betty's father, Moshe Simonoff,
who had helped found the Actors' Union.
On the stage Joseph Buloff came out in
the makeup and costume of a Ger Tsedek, in Kaczyne's "The Duke." A
remarkable makeup--a mixture of sanctity, Christianity, redemption
and martyrdom. He plays the scene from a cellar, where the Ger
Tsedek speaks with indignation and bitterness to the slaughter of
Jews.
Where is Buloff's dry Litvak Yiddish?
He had begun to swallow his tongue, and [speak] a more acceptable
Volinish of the Yiddish stage, as overnight the "miracle" happened.
He came out in a strong fashion to the
audience. The second scene was from Dymow's "Yoshke the Musician."
Here he appeared without a beard, but as a younger student, and the
women were deeply impressed. Buloff is handsome and young, with a
soft voice. His love scene had made a "hit" with the actresses, and
the actors already had to give him a bravo. What then, could they
show that they were indifferent?
With his acting, Buloff was a success
with everyone, with the guests and with the members of the union.
Therefore, it is indeed a mystery that he received four "no's." But
it is the story of the incident that he felt very much. He was still
willing to make his examination; that judging is not easy for the
theatre.
The four "no's," however, had saved
the reputation of the eternal "nounikes ('no' voters?)," in the
union. These were actors who had never not voted "yes" for an actor.
Even for Betty Simonoff they had not voted "yes." At that time they
kept track of the votes. And this they did because of their former
colleague Simonoff.
[It was] interesting to be at the
"probe" in the Actors' Union. Perhaps it isn't nice for the
candidates. For the viewers, however, it is a "regal show." |
|
In the coming season, if the probes in
the union would continue as it has until today, the Yiddish stage
and America, will be renewed and refreshed with a group of "Novobrantses"--young, zshvave,
living actors and actresses, filled from them ot-ersht from nodel
aroys. And with the majority of them the Yiddish Theatre will
not have to embarrass itself.
Take, for example, the examinations
of last Tuesday. Entering the "probe" were five new actors, young
people; khn'evdige, tsapeldige, passing merchandise
for an operetta stage, such as the Yiddish. Not unless the majority
of them got in with a large vote.
Miriam Kressyn is still a new name in
the Yiddish Theatre. More than half of the assembled actors in the
Actors' Hall, had never seen her before; and nevertheless she was
taken in to the union with 126 votes against 10. She was taken in on
her own "merits"...
At first she played and sang from a
scene of Secunda's "Sweet Moments." She was dressed in her own
clothes that well positioned her slim figure, her black hair fell in
waves across her face. The young woman made a strong impression on
the assembly.
Kressyn has only been here in the
country for seven years. She came with her parents from Bialystok.
In the seven years she went through public school, high school, and
a year of college. She was awarded two scholarships for the study of
music. This year is her second season on the stage. She acted in
Philadelphia.
"Nat" knows a well-known playwright, a
friend of mine, "not a kuk, as she writes Yiddish. This is
the letter that she sent us. Tell me, how many actresses know how to
write so well, juicy, mkh'h'dige Yiddish?"
Yes, the letter is not only written in
a genuine Yiddish, but the "spelling" is a "gramatne." With
Kressyn one could even spell out Hebrew words. So much oyftsuton in
seven years is not any small matter for a young woman.
Kressyn plays a scene from
Olshanetsky's "The Litwack Yankee." She is clad in a red dress, with
bright sleeves, the seams "trimmed" with white "fur." The black head
of hair against the whiteness of her outfit--Yes, one definitely can
see that the candidate would receive every man's vote. It will not
even help the malicious blinks of those prima donnas who are afraid
of the competition. Moreover the young actresses know that this is
the scene of fiel stage erfahrung and many fine
manners. The vote is a geshulte, and in the lines that she
sings it with so much "heart," that one must be an outlaw [gazlen]
to vote against her. Only these "outlaws" are here in the hall.
At his examination Muni Serebrov had
shown himself to be a wise actor, knowing how to create "sex
appeal," and does not use a single word, or with one not-beautiful
movement. Only he has the superficial fanandergeshpilet [of]
the Russian "Rubashka," when young people in Russia used to do, and
sung the marching song from Rumshinsky's "Katinka."
Serebrov is a young man, a hero. He
attaches the banner to the edge of this, and not a glance with his
dark eyes... that's related. The women are the khprh for him.
Only two voted against him; only those who were the "Nounikes,"
who have remained in the union from the olden times. They did not
know that one [could] write "yes."
Highly dramatic was the examination
that Luba Kadison made. She did not perform as a songstress, but as
a dramatic actress. Well, it was already a known fact that for a
dramatic actress, it is not so easy to enter into the union. Friends
of Miss Kadison screamed sharply...
Luba Kadison will not deny, I hope,
that when she is around the stage, she also was stressed, or better
said, nervous.
Her voice, however, is under full
control. Gradually the fright goes away; she gets into the role, and
with her also the audience. Miss Kadison had many sympathies in her;
she possesses a fine voice. She won over the audience before she
even began to perform. the actor is btbe a good person and
easy on the mitleyzstrune. Rejecting Miss Kadison would bring
bitterness to her family life. She and her husband, Joseph Buloff,
had constantly acted together; where he is, she is.
But I was not supposed to convey this.
When Miss Kadison played the role of Leah, she was accompanied on
the piano by her sister Pola, who plays in Rumshinsky's orchestra,
did not see Pola Kadison's face when she played on the piano, and
kept her moving on the stage; she was most interested in the probe
on Tuesday, [but] could not be seen. So much fear and supplication
and sister-like pity, and held-back tears were mixed together in the
face of the piano player. Not free, so many actors hate these probes
. They can often break a heart.
It was a miracle that Luba Kadison was
let in, lest not --Rumshinsky stood ready to protest; how he would
protest hard to say. Kalich, who spoke constantly on Rumshinsky's
behalf, is seated too far from him.
Boris Weiner--the only one who was not
taken into the union, made his examination in a scene from Toller's
"Hinkemann," in the role of the unlucky man who comes back crippled
from a war.
Sam Kasten had given this some
attention in the ballot boxes. For every ballot that he had
dispatched to the actresses, he had to get a kiss. At the probe
there came no less than 75 actresses. The only ones who went to pay
Kasten's "graft" were: Berta Gerstin, Stella Adler and Mrs. Betty
Ferkauf.
The committee that ratified the votes
consisted of Anna Teitelbaum, Max Badin, Louis Hyman and Sam Kasten.
But this time it was the "female head" of the committee, Anna
Teitelbaum, who took an active part in this work; when the time to
count the votes, those who waited for the female candidates, she did
it by herself and did it so easily. Not aropgehmendig the
black hat, not a wrinkle in the black dress.
The other two new actors who came into
the union were Celia Pearson and Bernard Gailing.
13 FEBRUARY 1931
The past week was one of the quietest
of the current season. That does not mean, however, that the week
was wasted. Farkert:
First, in the Actors' Union, it became
richer with four new members--two women and two men. They were:
Annie Toback, who plays this season in the National Theatre; Harry
Feld, who plays in Molly Picon's Folks Theatre; David Dank and
Gertie Silberkasten.
The last two were venig known
to the New York theatre public. Dank is a dramatic actor, and had
often played in the province; Gertie Silberkasten, the wife of
Morris Silberkasten, who has never played in New York, They say that
she once played in Philadelphia. If you played, did not play--she is
a beautiful woman, and nowadays rekhent men zikh even with
the Jews.
This is one away.
ELECTIONS IN THE ACTORS'
UNION
February 20, 1931
Last Tuesday was the meeting of the
Actors' Union, which ended in the election of new officers.
For President, Jean Greenfield;
Vice-President, Jacob Wexler; Financial Secretary, Charlie Cohan;
Protocol Secretary, Harry Kaufman. The ervehlt executive
members were: Sam Kasten, David Medoff, Moshe Silberkasten, Meyer
Schwartz, Meyer Honigman, Max Friedlander, William Epstein, Irving
Jacobson and Sidney Hart.
This coming Tuesday will be the
"probes" in the Actors' Union. The candidates will be: Helen
Zelinskaya, Chaim Yablokoff, Joseph Greenberg, Rose Elving, M.
Bessaraboff, Oscar Ostroff and Helen Blay.
GEZALBTE "DISGRACES" OF
THEATRE ART
when the Yiddish actors' union judge who has talent and who does not
by Ab. Cahan
This coming Tuesday in the Actors' Union [building] in New York,
examinations will be given for new candidates. For the exams there
will be six, and only one who is an entirely unknown young actor,
Chaim Yablokoff. Among those who have been durkhgevarfen, one
finds the well-known and truly good actress, Helen Zelinska; the
young, talented actress Helen Blay, and the learned, good actor,
Joseph Greenberg, from the former Vilna Troupe, and also Mrs. Rose
Elving from Newark, who has been on the Yiddish stage already for
nineteen years.
What kind of measures has the union
taken to vote on who has talent, and who does not, who deserves to
be a member and who does not? Who judges this? It comes by voting,
and each member has a vote.
The truth is that everything was built
on "pull," and the chlumrstdiner examination is a piece of "chlumrsht"
and absolutely not at the exam. It is a burlesque. The candidate who
is able to tsukleyben together votes, everyone has
"talent," that one is perhaps more capable of being an insurance
agent or an advertising agent, than an actor. However, this ability,
in this case is much more important than stage art.
One of the most talented actors on the
Yiddish stage has had great difficulties getting into the Actors'
Union, and all kinds of "training" were easily accessible. And
strongly such a person enters into the Union. Soon there occurs an
entire humiliation of the theatre arts, and he or she should vote
for the fate of our theatre world.
The entire story is simply a scandal.
And the scandal is already quite old. However, whether it's old or
new, to this is an end! The American theatre union, the Equity, is
directed with many lanik, and with many more judgments. When
an American manager engages a performer and assigns him a role, the
Equity takes the performer in as a member, without any hardships, to
judge the actor, to pick up or listen to his talent. That is the
business of the critic, and of the public. An official system also
exists, in the Yiddish journalistic world! When an editor takes on a
writer, and he publishes his articles, he then takes him into the
Peretz Union as a member.
It is entirely different with our
Yiddish actors' union. It is accompanied by actors and actresses,
and they are the art judges; they judge them, where it recognizes
art, and where it doesn't. Remarkably, the women actors are in these
situations, even worse than the men. They vote "no," and they also
influence the male actors. There are, however, enough men who are at
all times submissive to vote for the candidates. This what happens
when the actor has just a daughter, or a wife, or a sister, who
should come into the union. The admitted talents of the Yiddish
stage have many more talents. They vote with more justice, and with
more understanding. They say, however, that they rarely come to the
exams.
I believe that, in the end, one would
have to create a desirable system. It is simply scandalous.
One could compile a long list of
talent-filled actors, whom the "crowned art judges" of the Yiddish
actors' union had rejected. Now, the leader of the union had given
the truly important actor a privilege to act, but in the union they
hadn't been taken in. In many cases, the leader of the union was
afraid that when they would give a "probe" to one of the famous
actors, they would be rejected by the majority of the "crowned purtses."
THE SCANDAL WITH THE PROBES
March 6, 1931
|
Tomer fehlt following
the Actors' Union troubles needed to receive a bona fide
criticism from the press over the probes [exams], as the
reader knows. Within a week, at the probes, they were
rejecting the well-known actress Helen Zelinskaya, the young
actress Helen Bley, Rose Elving, who has already played in
Yiddish Theatre for twenty years, and Joseph Greenberg.
At the same probe, and at
previous ones, there were taken in a very few actors who had
not previously been seen or heard of on the stage.
The editor of the "Forward,"
Ab. Cahan, a friend of the Actors' Union, on Friday
afternoon there was a sharp criticism about the system of
the probes. He went on that the probes were obsolete and
unjustified. And it must be dropped. He explained that
actors haven't any right to judge who has talent, and who
doesn't. It is the work of the critic and for the public.
Cahan's short and frank
article made a strong impression in the theatre world. The
more well-known actors talked about it, that they would
speak about it, that they would hear about the matter at a
meeting of the Union. With what some people know, whomever
on the stage should first be seen, you are taken in, and
other artists were rejected, the union has set itself in an
awkward situation. The thing becomes even tragi-comical when
one knows that many of the rejected play the season in union
troupes, and some of those taken in do not act anywhere.
Actors, managers and
candidates carry around Cahan's article with them, and--it
tells them which candidates were already rejected, and for
those who first need to stand a probe, Cahan's article comes
as manna from heaven, as a treatment for a wound. Speaking
about it again, not one actress wanted to quietly drop the
writer of "shtik." The article of comrade Cahan has
shrouded the Yiddish Theatre world. The large majority of
the theatre family has taken the same point of view as
Comrade Cahan, that the probes are very useful. |
HOW THEY MAKE PROBES IN THE
YIDDISH ACTORS' UNION IN WARSAW
The probes there are very different
from here.
March 13, 1931
See https://www.museumoffamilyhistory.com/moyt/yt150.htm .
THE PROBES STILL OCCUPY THE SAME
[?]
March 13, 1931
Bernard Elving raised a petition at the meting, that the Union
should give once again a probe to his wife, who was rejected at the
probe with several others weeks ago. He explained that his wife
already has acted for what is nearly twenty years on the Yiddish
stage, and that she is not a bad actress. His main claim was that
when she had her probe, the members were in the hall, and then they
voted, not having any right to vote because they were arriving in
the middle of the probe.
After a short discussion it was agreed
to explain the two other "no's," which Mrs. Elving had received, for
naught and for approval, that she is a member in the Union.
What is it with Helen Zelinskaya,
Helen Blay and Joseph Greenberg, who were rejected at the same
probe? The entire Yiddish press published her protest against the
treatment of the "voters." Will the Union take into account public
opinion?
The question at the meeting of the
Union was not solved. She would like to see it, to come out to
today's meeting. From the report of the Executive Board, it is to
see that the rejections of the three actors is a bit bitter in the
ranks of the Union. With bitterness at the last meeting there were
expelled several prominent members, such as Liza Silbert, Anatol
Winogradoff and Meyer Schwartz. About the last two, claims were
brought against them at the Executive meeting, that they had acceded
to the Union with this, that they had protested against the probes.
The plaintiffs, however, had withdrawn
their claims. It is expected at today's meeting that the probe
question will finally be dropped.
27 MARCH 1931
This coming Tuesday 6 candidates will
take their exams in the Actors' Union. Among them can be found two
such distinguished actors as Leah Naomi and Reuben Wendorf, both
members of the former Vilna Troupe. The other candidates are: Sylvia
Fishman, Abraham Lax, Chaim Tauber and Anna Ziegenlaub.
ONCE AGAIN THE QUESTION ABOUT
EXAMINATIONS IN THE ACTORS' UNION
The union decides to give a second
exam for their own candidates--
Hot debate at the meeting of the Union.
April 10, 1931
At the meeting of the Actors Union last Wednesday, there was further
awakened the question of examinations for new actors, although
examinations in the Union were already ended.
The well-known actress Helen
Zelinskaya, who was rejected at the examinations several weeks back,
has gevendert of the union with a request, that they should
give her a new examination. She believes that the sentiment of the
majority of the actors is that it was necessary to areyngenumen,
to ask them, that they'd be allowed to grant it, to give her a
"chance." Also, if she would be rejected at the second probe, that
she will know that the actors do not want her, and she will no
longer balestigen with any examinations.
The Executive Board had the Union give
the probe over again. Speakers, who had participated in the debate,
were very few. From the speeches they were able to see that the mood
in the Union, which was in favor of a new probe. It only examined
ways to either get new examinations done immediately, or leave it
for later.
[It is] not only against the
candidates, but gegen zikh alayn, we did not have a fair
hearing. Guskin said, "They have rejected many candidates who we
need in the Union, and not just because of criticism, we need to get
them back again by giving a probe, but only because we did not do
the right thing. The Union must be morally justified if she wishes
to meet its critics with an opinion."
He therefore reasoned that they
should, in week of 15 June, give a probe to every rejected performer
who are eligible to do this.
Gushkin's proposal was accepted. It was also accepted that his
proposal that Helen Zelinskaya, Anna Grushkoff, Helen Ziegenlaub and
Moishe Oysher, who had turned to the Executive Board, should be put
on the list of those who are eligible for a new probe.
Performing for the Union will be Mrs. Fishman with an appeal that
her daughter, Mrs. Arco, should be given a second examination. Mrs.
Fishman, the wife of the founder of the Yiddish Theatre in Russia,
gave a moving speech. She told about her tragic life on the Yiddish
stage, and when she spoke many of those assembled teared up. The
members instructed the Executive Board, that they should hold the
probe. There is no doubt that the Executive Board will register a
recommendation to favor her daughter.
After a probe, which had occupied a
little bit of time at the meeting, the topic came up of the young
prima donna of the National Theatre, Anna Toback. She had a contract
from September with the R.K.O. Studios, that she should act for them
when she ceased her acting at the National Theatre. However, Saks,
the manager of the National Theatre, explained that if Miss Toback
does not go on tour, he will not send his troupe on the road.
The manager of the National Theatre
had looked at Miss Toback's agreement with R.K.O., when he engaged
her, Mrs. Toback's husband, Mr. Schmuckler, declared. The other
members of the troupe of the National Theatre had depended on the
fact that Mr. Sacks is not looking to send his troupe on the road,
therefore he absolutely demands that she should go on the tour.
The entire question is being reviewed
by Guskin.
------------
THE NOISE FROM THE "LANE"
September 4, 1931
In the Actors' Union one can find an old law--that an actor who is
still not in the Union after three years and is not playing in New
York, and there is no one else to take his place, an amateur, as [he
or she] is called, who is at the beginning of his first year as a
union actor, can then be engaged in New York when the manager knows
no other amateur singer who has been in the Union for more than
three years, he cannot find a job.
Every candidate who takes his "probe"
[examination] and becomes a member in the Actors' Union, knows about
this law. He knows this when he takes the oath to be a true union
member and keep all the laws and customs of the Actors' Union.
Whether the law is wise or not,
whether it is useful and practical, is another question. The writer
of these lines seems to [indicate] that the union, which has in the
last ten years has brought in some fine names into the Worker's
Movement, has made a mistake with the law. It does not help the
union, does not give the theatre prestige. It is clear, however,
that at all times the law has not been withdrawn, should it be
preserved [?]
This year had the "lane" question,
which evoked a bit of bad blood, and the theatre profession due to
several actors, "laners," who the union had forbidden to receive
positions in New York. They are Leah Naomi and Julia Adler, who had
contracts in the Folks Theatre, and Moshe Feder--in the Second
Avenue Theatre. The Union explained that their places can be taken
with other actors, who are not in the "lane."
In vain Isidore Edelstein, the manager
of the Second Avenue Theatre, appealed to the union actors at their
meeting. The law is remaining the law. Edelstein had asked to add
another actor if they would allow Feder to act. The Union rejected
his offer. Guskin's explained to the writer of these lines:
"It would have been unprecedented for
the Union to make such a conciliation. The managers would like to
take an immediate look (valten gleykh genumen anveyzen), that
we send in actors 'C.O.D.' (Cash on Delivery.)"
Guskin pointed out that a small number
of "laners" had received permission to act in New York. Joseph
Buloff, Betty Simonoff, Muni Serebrov, Itzik Feld, Pinchas Lawanda
and others were permitted to take engagements. This is not because
they are more or less like the others, but because of no other non-"laners,"
there positions are not there.
Today Leah Naomi is already engaged in
Philadelphia's Arch Street Theatre.
PROBE IN THE UNION THIS COMING
WEDNESDAY
October 7, 1931
Speaking about the union coming to its decision about a "probe" was
accepted at the last meeting of the actors. If the reader remembers,
the Actors' Union last winter gave examinations for new actors, and
forty or so candidates survived the probe and were taken into the
union.
Among those who weren't taken in one
finds several recognizable actors. They took it with their own anvezene.
Nevertheless, they had not received the necessary numbers to become
members. The rejection of those actors spoke poorly about the
Yiddish publicity. The press had protested the action of the Union
actor. Comrade Ab. Cahan, the editor of the "Forward," wrote an
article and pointed out the embarrassment and lack of common sense
of that action.
The Executive Board of the union had
the question re-assessed and resolved to give a probe once more to
those rejected artists. the new probe was suggested last August. Due
to the "busy time" of the new season the idea of giving new
examinations then was rejected.
Last Wednesday at the meeting of the
union, R. Guskin explained that the probe will be given this coming
Wednesday, the seventh of October. The actors who will be getting an
examination are: Helen Blay, Helen Zelinskaya, Anna Grushkoff and
Moishe Oysher.
"We sometimes make a mistake," Guskin
explained at the meeting.
"When we make a mistake, we have
enough to provide a remedy for it and correct it. Last winter we
spoke about the publicity, that we will taken artists into our
ranks. I hope that you will come to the next meting and vote, so
that the honor of the union will not suffer."
A PROPER, A BEAUTIFUL ACTION
when the Yiddish actors' union judge who has talent and who does not
by A.K. [Ab. Cahan]
This Wednesday at the Actors' Union new candidates received their
examinations for the union. In these cases there are four: the known
actresses Zelinskaya and Blay, and two singers, a man and a woman,
Oysher and Miss Grushkoff. All four endured their examinations and
were taken into the union.
The first two, as the readers of the
"Forward" know, had already endured examinations at one time at the
Union. This was last winter, and both were then rejected; and, as we
have explained after those examinations, the results of those
examinations called out no sympathy. Both of these actresses were
well-known. On the stage, both had talent. There are not many such
as these in the Yiddish theatre world. The Zelinskaya is an
experienced actress in Russian, and also in Yiddish. We are familiar
with her acting in both languages, and there isn't any question that
with such power, each theatre needs to be proud of it.'
We also say the same with our entire
heart about Miss Blay. In her fall, does this issue deserve special
attention, because her art is a product of the Yiddish stage. She
has grown up as a Yiddish actress, and is among the young forces who
have arrived during the last several years to Yiddish Theatre. It is
she, oh yes, who is one of the most important. We are oysgekumen to
write about her acting at several opportunities. Each time she has
made the best impression on us.
About that, she has talent, there can
be no question. It is, however, not just a talent. She has the rare
sense of that kind of art, which has in itself the reproductive
power of efficacy. All those who have a real feeling for the theatre
are convinced that she is one of our most valuable ones.
And these two experienced women,
Zelinskaya and Blay, were rejected this past winter. In other
words--there was an unhealthy majority of performers who voted
against them.
It is, however, never too late to
complain about a mistake. This Wednesday the union gave them another
examination, and this time both succeeded with a large majority.
Only seven voted against them.
We congratulate the two actresses on
their entrance into the Union, and we congratulate the Union for its
fine step. The voice of justice has won. However, one must tell the
truth, that a special credit must be given to several members of the
Executive Board, in particular Comrade Guskin, the manager.
UNION PERMITS MOISHE FEDER
TO ACT ON SECOND AVENUE
October 9, 1931
At the last meeting of the Yiddish actors' union, there was finally
given permission for Moishe Feder to play in Kessler's Second Avenue
Theatre. Feder became engaged after last summer. The union, however,
had not allowed him to play because he is a "laner," he is in the
union less than three years, and a laner tar in New York
cannot be engaged.
For one week Feder is continuing to
perform for his colleagues and has gebeten that they would
let him go to act. Now, when the season is in full gear, it will not
harm anyone if he is playing. Through him will be a non-"laner," keyn
angazshma, nit farliren.
Feder's request was approved. Only one
actor had voted against him, and they calculated that the actor had
made a "slip," a "mistake" in theatre talk. His nights coming
up will be at the Second Avenue Theatre in David Pinski's "Yankel
der shmid." This was his first performance this season. |
