Around 1911-12 -- M. brought
in the actors Bina Abramowitz, Morris Moshkowitz and
Kalmen Juvelier, also received the guest-starring Samuel
Goldenburg and for children's roles Berta Zingerman.
1915 -- M. was an
entrepreneur for the Olympia Theatre, together with
Aaron Lager. 1916 -- he directed with the Bataglia
Theatre (now -- Gran Splendid), 1917 -- he visited
Brazil, and in 1918 he returned to Argentina, where he
brought to the Olympia Theatre the actor Jacob Silbert.
1921 -- he visited North
America and acted in the local province. 1923 -- he
returned to Argentina, where he became the entrepreneur
for Mark Arnstein's tour across the Argentinean
B. Gorin relates about M.:
""Gutentag [the actor] had
been reported to be unable to deal with business, and
they had [to Buenos Aires] brought over from London
Marienhof to put the theatre onto a solid foundation
The latter was a good businessman, but he could not open
up much because Gutentag had disturbed him, and in the
end it was that Marienhof who had by himself taken over
the Olympia Theatre, and Gutentag with his wife and a
part of the company (troupe) went over to the Garibaldi
Hall. With this Gutentag took over against his
competition: the main and only dramatic actress in
Buenos Aires was Gutentag's wife. But Marienhof had
rivaled him: he began to import actors, and in this
fashion brought over Zygmunt Feinman, Dina Feinman,
Morris Moshkowitz, Jacob Silbert, M. D. Vaksman, S.
Goldenburg, Juvelier and his wife (Bina) Abramowitz's.
He had not brought over the attractions all
together, only individually or porveyz, in a span
of several years. The struggle among the two directors
had not lasted long, and they made peace."
In 1924 the Excelsior
Theatre (with kurta iberreysungen) was forced by
M. into a Yiddish theatre. 1925 -- M. was business
manager of the local theatre, wherein he brought in the
actors Boris Thomashefsky, Morris and Minnie Akselrad,
and then Joseph Schoengold.
In 1926 he completely
stopped acting, was only employed as an administrator,
and in the latter years of his life, he completely
retired, although he also continued weaving plans for
new Yiddish theatre activities.
According to the writer
necrology in the "Idishe tsaytung", M. "passed through"
all of the theatres. There was everywhere the important
person, who always brought new initiatives, competed
with other activities and was pursued. ...he never was a
capitalist, and then was the most enterprising by
It was also said when M.
returned from North America to Argentina, and his first
performance of "Amerike ganef" [in the Garibaldi
Theatre] never had a large audience, and he went to his
partner and decided to say:
--I also can not be a
partner because if the public is to me not coming after
a year's time has gone by, it is a sign that the public
was not from me(?)...
On 16 October 1928, M.
passed away in Buenos Aires.
B. Gorin --
"History of Yiddish Theatre", Vol. II, pp.
[--] -- Maks
marienhof geshtorbn, "Di prese", Buenos Aires,
17 October 1928.
[--] -- Maks
marienhof a shtik geshikhte fun idishen teater
in argentine, "Idishe tsaytung", Buenos Aires,
23 October 1928.