YIDDISH ENSEMBLE PLAYERS, Inc.
at the
Civic Repertory Theatre
presents
"The Golem"
A Dramatic Legend
in Four Acts and Seven Scenes
by H. Leivick
Directed by Egon Bleicher
Incidental music by Joseph Achron
Settings Designed by Foshko
CAST
(in order of appearance)
|
Tadeus, the
Inquisitor |
Leonid Snegoff |
A Monk |
Wolfe Barzell |
Maharal, the Rabbi |
Lazar Freed |
The Sexton |
Jacob Mestel |
The Golem
|
Alexander Granach |
Deborah, the
Rabbi's grand-daughter |
Julia Adler |
Tanchum, a madman |
Tenen Holtz |
The Sick Beggar |
Judah Bleich |
The Red Beggar |
Michael Rosenberg |
The Blind Beggar |
Itzhak Rotblum |
The Tall Beggar |
Hershel Zohn |
The Short Beggar |
Morris Feder |
The Hunchback |
Hanoch Meyer |
The Old Beggar
(Elijah) |
Max Rosenthal |
The Young Beggar
(Messiah) |
Joseph Greenberg |
The Man with the
Cross |
Jacob Temny |
|
as Wanderers, Fugitives, Boys, Citizens of
Prague, Choir of the Dead and Dancers:
Irving Belchinsky, Isadore
Gluckman, Nathaniel Hersh, Philip Wolf, Harold Miller,
Jacob Sandler, Manny Feller, Martin Punch, W. Peshes, J.
Schuchman, Shirley Albert,
Bertha Barzell, Eda Garber, Feigele Goldberg, Bella Gisser,
Bertha Guttentag, Esther Greenberg,
Molly Horowitz, Sylvia Lohman, Bella Nadolsky, Sophie
Ryewitch, Ida Soyer, Dvo Sarron,
Helen Zelinsky, Mara Tartar, Miriam Tenenholtz, Liza Varon,
Rose Warsaw.
The action takes place in
Prague in the seventeenth century.
Act 1 -- Scene 1 -- The
Monk's Cell.
Scene 2 -- A Clay Pit near the edge of the city.
Scene 3 -- The Synagogue Courtyard.
Scene 4 -- The Synagogue Courtyard.
Act 2 -- The Ruins of the
Fifth Tower.
Act 3 -- An underground
passage.
Act 4 -- The ante-chamber
of the Synagogue.
|
THE PLAY -- Leivick's great
imaginative play, "The Golem," originally written in
Yiddish, was translated into Hebrew and played for several
years as a distinguished feature of the repertory of the
Habima players of Moscow. It was also produced by the
Goodman Theatre in Chicago in 1928, managed by Luis Wood,
Stevens and David Itkin.
In spite of the barriers of
language, the play was an overwhelming success everywhere.
Recently an authorized English translation was made by Mr.
J.C. Augenlicht, which is now being prepared in opera form
for the Chicago Civic Opera Co. with music by Von Grath.
For the Yiddish Ensemble Art
Theatre production, the author, Mr. H. Leivick, has prepared
a final and definitive stage version. This is not only the
first showing of the play by H. Leivick in Yiddish, but the
author's last word in regard to its stage form.
|
Permanent company of the
Yiddish Ensemble Art Theatre:
Bina Abramowitz, Julia Adler, Anna Appel, Wolfe Barzell,
Judah Bleich, Lazar Freed, Alexander Granach, Joseph
Greenberg, Bertha Gutentag, Tenen Holtz, Jacob Mestel, Bella
Nadolsky, Michael Rosenberg, Max Rosenthal, Isaac Rothblum,
Joseph Schwartzberg, Helen Zelinsky, Leonid Snegoff and Liza
Varon.
|
|
SYNOPSIS
|
"THE GOLEM" is based on a
famous legend of the Prague ghetto. It tells how the great
Rabbi Loewe (The Maharal) who is himself a real historic
personage, created a giant to defend the Jews by first
modeling a figure in clay and then animating it into life by
prayers and incantations. In this its final form, the play
is a rich imaginative work, strange and fascinating in plot,
deeply symbolic, a profound expression of the Jewish mind.
THE STORY -- The scene is laid
in Prague and depicts first the situations of the Jews
suffering under the persecutions of the Inquisition. The
Maharal decides that a strong arm is necessary to the saving
of his people. They are threatened by false accusations --
the blood-ritual canard that has reappeared so often in
eastern Europe during the last three centuries. He moulds
the figure of a Golem and calls upon the soul to animate it.
The soul resists incarnation. In a scene of superb power,
the Maharal, urged by the pitiful sight of the banished
fugitives, insists, and the gigantic figure comes to life,
simple as a child, but fearing within him the destructive
sees of his unwilling spirit.
The Rabbi brings the Golem
home, and discovers him fascinated by the beauty of his
grand-daughter, Deborah. He is set to hewing wood and
drawing water, and from time to time is sent on missions to
save the people, punishing the inquisitors who drive the
Jews from their last refuge in the Fifth Tower, and
searching out and recovering the treacherously planted
evidence of the blood-ritual accusation. Warmed by Deborah's
presence and chilled by her fear, the Golem's spirit
undergoes a strange transformation. The final scenes, in
which the Golem, fallen into a destructive phase, sheds
Jewish bloodf and is forced by the Maharal's will back into
the clay from which he had been evoked, are not to be
surpassed in modern drama. A profound symbol of the evils
inherent in force unguided by the spirit is embedded in the
play, a symbol further illuminated by the action of the
Maharal in his tragic rejection of the young Messiah, the
spiritual leader who arrives before his time. |
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