"Here every candidate goes through two probes, a "theatrical probe" (literary test), and a "practical probe" (in makeup and playing theatre). Both probes are not given in front of the entire union, but for special committees.

The management of the union (the Executive Board), consists of three pedagogues, principals and teachers from the Yiddish schools, and the candidate is given a theoretical exam by them. Each candidate must be able to read, write and speak Yiddish well. He needs to be at least a little familiar with Jewish history, to know the history of Yiddish theatre, and possess similar knowledge. When he gets through the theoretical probe, the candidate will only then admitted to the practical probe.

Also the practical probe is not given before the entire union, but for a committee of seven or nine, consisting of the best actors, officially recognized directors, and a musician. I want to mention that in no case does the committee include those who have "pull," or ... are "makhers" (fixers) in the union. It consists of the best forces from the Yiddish theatre, such that one cannot suspect that they are afraid of their job. As a "supervision committee," the management (Executive Board) of the union and its manager have no vote, no opinion. It sits only as a representative of the union, and it ensures that everything goes smoothly. It answers certain technical questions when asked ...

The average Yiddish actor [in America] does not live much worse off in Poland than he does here in America. True, one does not earn the great wages there as here with us, but when one calculates the very cheap standard of living there ... it makes sense that they play there fifty-two weeks a year, that there is no season, not any slack -- perhaps the actor there is better off than with us ..."
 

by Anshel Schorr, Forverts, March 13, 1931. Read the complete article.