Yiddish], a young woman, they both, my mother
and Lili, were on the stage. The talk about
married life, about love, with ontsuherenishn
of a husband's and wife's relationship.
The German Louise
knew her, that she will quickly travel home to
Germany, to her "Shatz," her fiancé, that is,
with whom she wanted to marry, asked her, the
naive Esterke: "if she had a fiancé in Germany,
is that also, Reb Tslal? Do you love him?" The
German laughed on her own and said, "Oh, vi
nokh? Naturally, do men love a corpulent
woman? ... I am it... Oh, frau Rappoport, so far
she can understand life and the world... how
then can one woman as her get married?"
I stand by the
curtains -- I have portrayed Sheine-Henye -- I
look up as my little sister "spraven"
with her role. Our "babe" Lili had in the scene
so broadly done her job, with her hands on her
carried watch(?), and with an entire
farsheytn a zog done to her mother, to
Esterke, i.e. "Ah, Frau Rappoport, vi venig
zi visn fon married life." She had done it
very well and had appropriately emphasized...
She barely was observed giving off a laugh."
In 1912 F., already
a complete actress, participated in London in
the "Pavilion" Theatre (director: Joseph
Kessler). Here she became acquainted with Ludwig
Satz, with whom she married in 1913. They went
on to Galicia where they acted together and also
went on to make a film. Due to the outbreak of
the first World War, they went off to London
from where they were brought by Anshel Schorr
into his Philadelphia "Arch Street" Theatre,
where she acted for two seasons. Celia Adler
recalls that in Libin's "Di groyse frage (The
Big Question)," Schorr gave special roles to
both of them, to play the roles of a husband and
wife, because they had been contrasted: Satz
played a dried up, weak Jew, who barely had the
strength to speak, and F. played his wife, a
mother of eight children, with her considerable,
roundish figure, and this difference alone in
their oyserlekhkeyt had brought to the
play a lot of comical moments.
F. drew herself away
from the stage and gave herself to the
management of her husband's business.
According to her
sister Celia Adler in her memoirs:
or having seen my sister Lili Feinman as an
actress, that she had been in the span of ten
years been one of the practicing soubrettes who
the Yiddish theatre has possessed; has had a
treasure with her grace(?), was a graceful
dancer, a very fine singer, and generally
possessed everything that a good soubrette
should possess. Also she was a fine character
During the years in
which she acted in London she became very
beloved by the public after her marriage to
Ludwig Satz. She had a number of years of acting
in Europe with him, and also in America. When
Satz had, after a difficult struggle, finally
won recognition here in America, he very quickly
became the most popular and famous star-comic;
he fuelt with Lili that she should give
up the stage and devote herself to the very
appreciable career of wife and mother."
F. is the Financial
Secretary of the organization "Artists and
Friends" and Recording Secretary of the ladies'
division of the Cloak Joint Board of the Jewish
M. E. from Celia
-- "Celia Adler dertseylt," New York, 1969,
pp. 4, 34, 49-52, 73, 98-99, 112-115, 125,
133-136, 142, 178, 193, 208, 219, 240, 242,
274, 279-280, 309, 324, 332, 341, 343,
372-276, 384, 386, 393, 396, 403, 404, 412,
468, 512, 557, 606, 627, 641, 645.