I was at the reading. I never have
heard such a reading of a play. He played all of the roles. Even
to this day I think that Sholem Aleichem, when he lived, would
have been able to have the greatest success reading or playing
every role from his plays.
Thomashefsky then said to the
actors: When we play half as good as he reads, we will have a
great success. But neither the audience nor the actors were
ready for the thin features and the beautiful Yiddish of
Sholem Aleichem. After the dramatic prose of Horowitz and Lateiner, even the long dialogue of Jacob Gordin's plays, it was
like another soldier's orchestra playing the delicate
music of Mozart.
Both theatres, Adler's and
Thomashefsky's, were not ready for their performances. They held fewer rehearsals
because they wanted to usurp the other
before the second premiere.
So what came out of this rush?
People burned themselves out. But more than anything, Sholem
Aleichem suffered. Both plays began to be played on
one Friday, and indeed both were failures on that same Friday.
At the time when they held
rehearsals for "Stempenyu," Sholem Aleichem asked me
to write a folk song with music, which they will sing in his
play, "Stempenyu." This is what he sung to me:
"Oy, oy, oy, kugel
heyst es,
un in moyl tsugeht es.
Oy, oy, oy, kugel heyst es,
in moyl tsugeht es." |
|
"Oh, oh, oh, they call it
kugel,
and it goes in the mouth,
Oh, oh, oh, they call it kugel,
in the mouth it goes." |
When I met him after the failure
of both plays, he began to sing dramatically to me: "Oy, oy,
kugel heyst es," and said, "They couldn't digest this genuine
Yiddish kugel."
ISIDORE SOLOTOREFSKY
An
irrelevant actor from the province arrived with melodramas and
saved many Yiddish theatres from going under.
One of Solotorefsky's greatest
successes, "Der yeshiva bokher (The Yeshiva Student),"
was written for Boris Thomashefsky. For years Thomashefsky did
not think of any play with which he might begin the new season.
They already knew that Thomashefsky would begin with the
"Yeshiva Student," and the first production would surely sell
out.
The content of "Yeshiva Student"
was taken from Shakespeare's famous drama, "Hamlet." They used
to advertise it the first time as "Der idisher hamlet
(The Jewish Hamlet)." Many believed that there was such a Jewish
food to eat, such food as that omelet. They advertised it as
"Yeshiva Student," or, "The Jewish Martyr."
Solotorefsky said that he created a rabbinical court
from the Royal Court of Denmark, and from the queen
-- a rebbetzin, and from the young prince -- a Yeshiva
student.
When the yeshiva student comes
from the yeshiva, he finds a young rabbi on his old father's
rabbinical chair, and he farrekhtig his mother with the young
rabbi in his father's, the old rabbi's death. Here Thomashefsky
used to cry out with his melodramatic and half-Daytshmerish "rish'n":
"Take off your veil" (a handkerchief), and to the audience
he cried out:
"Jews, stand up! Extinguish the light, his son will say Kaddish
for his deceased father and your rabbi."
Ordinarily, he does not say
Kaddish, but he sings Kaddish with a trained choir, and the
audience cries and complains.
The play, "Yeshiva Student," was
infested with melodramatic, heartbreaking scenes and even
comedy.
As was said, the "Yeshiva Student"
saved many difficult times in the Yiddish theatre.
Solotorefsky came with melodramas
that made money for the managers. He wrote "Di idishe anna
karanina (The Jewish Anna Karenina)" -- from Tolstoy -- for
the crippled Emma Finkel; "Diamonds," a strong melodrama for
Rosenthal and Bessie Thomashefsky; "Der prayz fun libe
(The Cost of Love)," for Adler; "Di lebedige yesoymim
(The Living Orphan)," and so on, which staved many theatres from
going under, but he could not save himself; he loved the bitter
drop, and he was rarely sober.
He fled from his first wife to Canada, and she
did not hear from him. When the writer of these lines had to
travel with a company to play in Canada, I met him there and
reprimanded him: "How is it possible? Send your wife some
money." He said: "Rumshinsky, my friend, what are you saying? I
send and I send (drunk), and it does not concern you at all."
He made money from the theatre,
but he died in misery and need.
THEY DRAG ACTORS TO POLICE
STATIONS FOR PLAYING THEATRE
They did not permit the playing of
theatre on Sundays. They called it, "Der shtrenger zuntag
(The Stricter Sunday)." Legitimate theatre was strictly
forbidden. Only concerts, singing, readings were permitted, but
not dancing, also there was no permission for any costumes to be
used. They had to perform in simple clothing, tuxedos or frocks.
The Yiddish theatre could not have
existed then without the two Sunday productions -- a matinee and
an evening. The Yiddish actors -- performed in theatre plays in
their street clothes. On several Sunday productions they often
came out entirely for comic scenes. For example: Boris
Thomashefsky on a Sunday played "Hamlet" in a frock ... When
Hamlet spoke his great monologue, "To Be or Not to Be,"
Thomashefsky spoke from behind the stage, as if there was a
detective there in the theatre. Hamlet began to sing "Kum,
Israel'ik, kum heym (Come, Israel, Come Home)," so that the
detective could say that he heard singing at a concert.
Berl Bernstein began to sing a
couplet on a Sunday, in which after each couplet there was a
little dance. I said to him, conducting the orchestra: "Mr.
Bernstein, a detective is here in the theatre." He said to me:
"Play the dance." When the orchestra played the dance, Bernstein
brought out a man with stripes, and he said to the public:
"Indeed I may not dance today, but he may dance." Pointing at a
man, he pulls the string and the figure dances, according to how
Bernstein pulls the strings. The public was strongly amused by
this successful idea.
When at that time almost the
entire company was dragged in to the police station house, the
detective told the judge of the incidence, and the Jewish judge
also laughed strongly.
In the Thalia Theatre then they
played on Sundays, "Dos yidishe harts (The Jewish
Heart)," but without dance, and with one piece of scenery.
No sceneries were allowed to be
changed, but detectives once found fault with the Sunday law.
They used to drag several actors and actresses off to the police station. They used to let them out on bail and fined them
twenty-five dollars. When the image of the arrested actors and
actresses used to appear in the next morning's newspapers, the
actors, mainly the actresses, asked them that they should be let
out of the station house, so that their image will be in the
newspapers.
Boaz Young tells that on a Sunday
he stood and waited for Mrs. [Clara] Young, that she should
emerge from her dressing room and leave arrested. However, it
took a lot of time to wait for Clara Young. [Boaz] Young banged
on her door and shouted: "Clara, make it faster, or [Malvina]
Lobel will be arrested (Clara Young's sister)." |