TEVYE THE MILKMAN/DAIRYMAN1,
by Sholom Aleichem
(Yiddish: Teyve der milkhiger)
“Of
the many characters with which the
genius of Sholom Aleichem (pen name
of the late Sholorn Rabinowitz)
enriched Yiddish literature, none is
more human, lovable and amusing than
Tevya the Milkman, the kindly,
whimsical, and naively shrewd
Ukrainian Jewish peasant, celebrated
for his Biblical and Talmudical
malapropisms which are,
paradoxically, so marvelously
apropos.
Tevya
belongs to the company of Samuel
Weller, Wilkins Micawber, and other
worthies who have added to the
gaiety of the nations. His
adventures form the subject of
several stories, and the present
play is a dramatization of one of
them."1
According to the show's playbill, "Tevye
der milkhiger" is a comedy-drama in
three acts and five scenes by Sholom
Aleichem. It opened on 29 August
1926 at the Yiddish Art Theatre,
12th Street and Second Avenue, NYC.
You can read the listing of the rest
of the staffing at the bottom of
this page.
The cast
included (in alphabetical order): Bina
Abramowitz, Celia Adler, Izidore Casher. Bernard
Gailing, Berta Gerstin, Wolf Goldfaden, Michael
Rosenberg, Leah Rosenzweig, Maurice Schwartz, I.
Segalov, Pincus (Philip) Sherman, Morris
Silberkasten and Leah Toppel. |
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photo:
Maurice Schwartz as "Tevye der
milkhiger (Tevye the
Milkman)". |
From
Martin Boris' unpublished biography of Maurice
Schwartz, "Once Upon a Kingdom":
“I
send you, through my friend Jacob Saperstein, a
play which I have composed from several works
written by me twenty years ago,” wrote Sholom
Aleichem to Jacob Adler. “You will find only a
simple Jew, the father of five daughters, an
honest, clean, wholesome and greatly suffering
character who, with all his misfortunes, will
make the public laugh from beginning to end.”
(Rosenfeld 322-323)
Of
course, the playwright was describing his Teyve
the Milkman, offering it to Adler around the
turn of the century. But The Eagle declined the
gift, as it had no romantic part for him. The
play with which Maurice Schwartz opened the
1919-1920 season at the Irving Place Theatre was
the one Adler had refused. With Sholom Aleichem
dead for three years, Schwartz bought the
production rights from his widow. A condition
imposed by her was that Isaac Dov Berkowitz,
married to her daughter, work on the stage
adaptation. Berkowitz, a highly regarded writer
in his own right, had come to New York with the
Sholom Aleichems, remaining there until 1928,
then settling in Palestine.
The
play worked on by Berkowitz and Schwartz, opened
to superb reviews in the Yiddish press on August
29th, and enchanted packed houses for 16
straight weeks. Schwartz felt redeemed, his
artistic yearnings justified. He’d survived the
profound loss of Jacob Ben-Ami, idol of the
intellectuals, and the other less-worshipped
defectors. And for once in many months, Max and
Stella weren’t on his back with their prating
lectures about money—the lack of it, the loss of
it, the absolute need to show a profit. More
important to Schwartz, "Mrs. Sholom Aleichem was
very happy. She’d been afraid that Tevye, Sholom
Aleichem’s favorite work, wouldn’t make a
glorious impression. [When it did] she
exclaimed, "Thank you so much. You’ve removed a
stone from my heart, from my family’s hearts"
(Schwartz 10 Dec. 1941).
So, here is the
synopsis of Sholom Aleichem's "Tevye der
Milkhiger". The name of the actor or
actress who portrayed a particular role is
indicated in parentheses:
SYNOPSIS
SCENE ONE
Golda (Bina
Abramowitz), Tevya's
ever-apprehensive spouse, is churning butter on
the porch, while Tevya (Maurice Schwartz) is away in the city with
his dairy products, She is interrupted by the
arrival of her elder daughter, Zeitel (Bertha
Gerstin), who is
married and lives in a nearby town. Zeitel tells
her mother about her sickly husband and smart
children, and is in turn enlightened about the
affairs of her folks. Golda complains that her
younger daughter, Chave (Celia Adler), associates with a young
Christian, Fedya (Izidore Casher), son of Mikita Galagan
(Wolf Goldfaden), former
village clerk; worse yet, she occasionally chats
with Otietz Alexai (Morris Silberkasten), the local Greek Catholic
priest. She trembles lest Tevya gets to know
about it; yet he alone is to blame, because he
insists on having his daughter learned like
himself, forgetting his own maxim that "When a
hen begins to crow, its time to send her to the
butcher." Presently Chave emerges from the house
and relieves her mother of the work, at the same
time teasing her, good naturedly, about her
superstitious fears. Tevya returns home and
gives Chave a book he got for her in the city.
When Golda protests against giving Chave so many
books, he parries with a Talrnudical
malapropism. Supper is served on the porch, and
Tevya and his wife engage in pleasant
skirmishes, during which he fires many a
Biblical rocket. Otietz appears, and at the
sight of him Chave trembles, while Golda
expresses disgust in many an aside for which
Chave rebukes her. After some preliminary
maneuvers, during which Tevya again discharges
his favorite rockets, the priest tells them that
the daughter of one of their Jewish neighbors
has, thanks to his efforts, turned Christian,
and is about to marry a gentile. Tevya greets
the news with an ironic remark, whereupon Otietz
asks him how he would feel under similar
circumstances. Tevya replies that he would
rather die, or see his daughter dead, then go
through such an experience. Chave suddenly
faints, and in the excitement that follows, the
priest walks away smiling.
SCENE TWO
Evening of the
same day. Chave is sitting alone on the bench
near the porch. Zeitel approaches and cautiously
questions her as to the meaning of the priest's
mysterious remarks. Chave resents this
questioning and Zeitel goes back to the house.
Presently Fedya appears and gives her a book by
by Maxim Gorki. He is annoyed by her low spirits
and unresponsiveness and makes an attempt to
leave her, but she holds him back. She speaks
apprehensively of the step she is about to
take a step which would mean a complete break
with her past life, and to which her father
would never become reconciled. Fedya minimizes
her fears, yet, asked how he would feel in her
place, he admits that the very thought of it has
never occurred to him. He drowns her lingering
scruples in a flood of endearing words, and
paints a glowing picture of their future
happiness together. Hearing Tevya's footsteps
he slinks away-not, however, without being
noticed by the latter. Tevya questions his
daughter, and she confesses she was chatting
with Fedya, who had brought her a book. This
somewhat reassures her father, who worships
books; nevertheless, he deprecates her
associations with the young Gentile. Chave
reminds that he himself always says that all men
are brothers and should love one another. He
admits it, but maintains that even the Torah
makes an exception in the case of Amalek. He
adds that though his neighbors profess their
friendship, they would have a stone or two for
him in the event of an anti-Jewish outbreak.
When, at his request, she promises to do nothing
that would bring disgrace, and even death to
him, he feels completely reassured.
SCENE THREE
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Tevya and Golda, dressed in their
best, for it is Saturday, the Jewish
Sabbath, are standing in front of
the priest's house, where they have
come in search of their missing
daughter. Otietz appears in response
to their calls, and Tevya demands
his child. The priest answers
evasively. They fall at his feet and
kiss his hands, only to be rebuked
for thus prostrating themselves
before a mere man. When Tevya
attempts to enter the house, Otietz
blocks his way, and brusquely orders
him away, calling him an "unclean
Jew."
As the two pass out of the
gate, they come upon Mikita, Fedya's
father, and implore him to reveal
their daughter's whereabouts. He
feigns ignorance, and they depart.
He seats himself on the porch of the
parsonage, where he is soon joined
by the burgess, the sheriff, and a
bailiff. |
photo:
Maurice Schwartz, as Tevye der
milkhiger. |
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The burgess
maintains Mikita did wrong in not telling Tevya,
an old neighbor, that their children were in
love, and that, since his son was a Greek
Catholic, Tevya's daughter must embrace that
faith. Mikita reports that if he had done so,
Tevya would have spirited away his daughter.
They adjourn to Mikita's for refreshments.
Presently Chave and Fedya, in wedding apparel,
emerge from the parsonage, and sit down on the
porch. Chave is full of remorse, and Fedya
vainly tries to cheer her up. The wedding guests
arrive, with music. A procession is formed, and
the young couple are led to the church.
SCENE FOUR
Evening of the
same day. Golda lights the lamp in her now
desolate house and chants the Jewish woman's
traditional prayer at the end of the Sabbath.
Zeitel arrives. She tells her mother Tevya had
been twice to her town during the day in search
of Chave and tries to comfort her. Tevya enters
and proceeds to observe the rite which marks the
passing of the Sabbath. The ceremony over, he
tells them that, inasmuch as Chave has abjured
the Jewish faith, they must regard her as dead
and mourn her in the prescribed manner by
removing their shoes and sitting on the ground
for one hour.
SCENE FIVE
Some years later.
Golda is dead, so is the husband of Zeitel, who,
with her two children, is now living with her
father. Tevya, greatly aged, enters and bids his
daughter get ready the dairy things which he is
to take to the city. Meanwhile he chants some
psalms. He is interrupted by the arrival of the
burgess, the sheriff, and the bailiff, who
inform him that it has been decreed that he and
his family leave the village. (Jews were not
permitted to live in villages under the Czarist
regime). Their report is soon officially
confirmed by a police official and the village
clerk, who bring the written order, which Tevva
is asked to sign. The order decrees their
expulsion within twenty-four hours. Tevya
rebukes Zeitel for crying and tells her to pack
up their personal belongings, while he himself
goes out to sell his other effects. Chave
suddenly appears. She tells her astonished
sister that she has remained a Jewess at heart,
fasted on the Day of Atonement, and visited
their mother's grave on the anniversary of her
death; that she realizes her mistake, which
brought her only disappointment and unhappiness,
and is now determined to go back to her family
and people. Fedya
rushes in and vainly endeavors
to persuade her to go back to him. Hearing Tevya
approach, Chave and Fedya retreat to the kitchen
while Zeitel resumes her packing. Tevya informs
her of his decision to immigrate to Palestine,
then proceeds to pack his treasured books.
Otietz enters, pretending he has come to buy
something. It soon turns out that he has come to
redeem Tevya's soul. He tells Tevya that if he
would only be reasonable and turn turn
Christian, he would not only be permitted to
remain m the village, but with his bright Jewish
mind would soon become burgess. Tevya spurns his
advances. "When I came to you for my child, you
said 'Away, unclean Jew!' And now I say to you,
'Away unclean priest!" Otietz leaves in
confusion, and Tevya exults in his triumph.
Zeitel diplomatically praises her father's skill
in argumentation, then cautiously hints she has
some news about Chave. Tevye refuses to listen
to her, remarking that the branch that's broken
off must die. Zeitel persists ill telling him
all, including Chave's refusal of Fedya's pleas.
Tevya wavers when, suddenly, Chave comes out of
the kitchen. She declares her determination to
go with them in exile, adding that, "Whither you
go, I will go." The Biblical allusion melts
Tevya's heart, and he takes to his bosom the
returned prodigal daughter.
More on the
Yiddish Art Theatre at the time of the
production: Executive Staff: Martin Schwartz and
Meyer Golub, Managers; Lewis Kasten and Joseph
Grossman, Treasurers; Leon Hoffman, Yiddish
Press Representative. Nat Dorfman and Ben
Holtzman, English Publicity. Stage Staff: Joseph
Schwartzberg and Ben-Zion Katz, Stage Managers.
Technical Staff: Mark Lawson, Andy Van Walken
and Julius Screiber, Technicians; Julius Levy,
Master Carpenter; David Gold, Master
Electrician; Sam Wolinsky, Master of Properties.
Art Department: Boruch Aronson, Mark Lawson,
Robert Van Rosen, Joseph Cutler, Zuni Maud, Jack
Soble and Benjamin Isaacson. Maurice Schwartz,
Director. Louis N. Jaffe, Lessor. Anbord Theatre
Corp., Lessees.
1 -- Text from playbill of "Tevye der
milkhiger". Courtesy of YIVO. |
Tevye
der milkhiger, the movie ("Tevya", 1939)
The play
eventually became a movie, simply named "Tevya",
was in Yiddish and was released in 1939. It
started Schwartz as Tevya, Miriem Riselle as
Chave, Paula Lubelski as Zeitel, Leon Liebgold
as Fedya. Others in the cast included Vicki and
Betty Marcus, Julius Adler, Daniel Makarenko,
Helen Grossman, Morris Strassberg, Al Harris,
Louis Weisberg and Boaz Young. Music by Sholom
Secunda.
You can hear a
nearly
five-minute sound clip from the film (in mp3
format), which was contributed by Joseph Seiden
for the tribute album to Maurice Schwartz. You
can see a short video the Museum constructed,
which contains three scenes from the play. Just
click here.
Also, courtesy of
YouTube, here is a seventeen-minute clip of the
film. If the film sound does not play, you can
try watching the video directly on YouTube at
http://www.youtube.com/watch?v=D3N0UKgoIFs&feature=player_detailpage.
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Lomir essen (Let's Eat)....
So it's August or
September in 1926 and you want to grab a bite
before or after the show, which is being staged
at the Yiddish Art Theatre, which is located on
12th Street and Second Avenue in Lower
Manhattan. Where can you eat? Well, based at
least in part on the aforementioned playbill,
might I make a few suggestions? Maybe some
entertainment after the show, e.g. the cymbalist
Joseph Moskowitz, at the Little Roumanian
Rendezvous?? |
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ad, right:
Haimowitz's Oriental Roumanian Restaurant and
Broilings, 106 Forsyth St., b. Grand and Broom
Sts. Ad states: Due to the hundreds of
friends and patrons who last year didn't make
their reservations in the associated time...
Haimowitz's Oriental Roumanian Restaurant and
Broilings... This year make special preparations
to satisfy your guest... Pearl's Mansion, 98
Forsyth Street (music, special revue of
songstresses, and a dance hall for everyone...
Entertainment and Dancing every evening! |
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1 -- Maximilian Hurwitz. Playbill for
the Yiddish Art Theatre's production of "Tevye
der milkhiger", 1926.
Courtesy of YIVO. |
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