and when two years later he went over to
the People's Theatre to Boris Thomashefsky, Thomashefsky
also had him perform in lover roles, and he often
performed in the roles that he, Thomashefsky, had
performed in. It was not long before R. , now already
Samuel, not Shmuel, became the "matinee idol" ("Der
nokhmitog-libling"). ... Rosenstein became the darling
of the "beautiful sex", [and] he did not exploit this.
It is no exaggeration to say that Rosenstein, along with
his father, had not conformed to the accepted principle of
the free life of the actor. He didn't even smoke, didn't
drink and didn't perform in kartn, and he would
not direct many houses, and not make an attempt as a
manager. He would not fall into the difficult economic
conditions like the last".
From Thomashefsky, R. went
over to Adler's "Grand Theatre", where he received more
act in dramas, and here he created two individual,
strong types in Gordin's "Without a Home" ("Morry"), and
"Golus galitsye" ("Der prush"). From Adler R. returned
back to Thomashefsky, where he acted for seven or eight
seasons and performed in the main roles of
Thomashefsky's "The Jewish Crown." From 1912-13 R., together with
Louie Goldberg, Rosa Karp and Leon Blank, took over the
"Lenox" Theatre in the Bronx, but the theatre existed
for only a short time, leaving over a great sum [debt.] R. returned to rejoin
Thomashefsky-Louie Goldberg at the "National Theatre",
where he acted for three seasons and made a strong
impression in Rumshinsky's offering of "The Broken Violin." Later R. acted for two
seasons in the "People's" Theatre for Edelstein, then a
season in the "National" Theatre, where he again was
with Edelstein in the "Second Avenue" Theatre, again had
a huge success in the Bader-Rumshinsky operetta "The
Rabbi's Melody," for which R. also
wrote the "lyrics," and he then returned back to the
Alter Epstein, under the
pseudonym of "Uriel Mazik," characterized him as such
"Rosenstein is without doubt
one of the blessed people on our stage. He is handsome;
his figure is beautiful. His figure reminds us of a
Greek god. His voice is good. It is pleasant to hear.
They really loved him, his life, but with playing good
theatre, he had nothing to do (awk.) ... He is not a
god-blessed actor. ... Rosenstein is a beloved
artisan on our stage. Besides this, if you will not give
any account, you will think that for you here stands a
good actor, but when one thinks about the role in which
he performs, how he acts in it, then it is fulfilled,
(more to translate,
last paragraph, p. 2483).
1925-26 -- R. attempted
again (together with Rosa Karp) to become the managers
of the "Lenox" Theatre, carrying on but barely for a
season, and then went to Philadelphia, where he acted
for two months with Mike Thomashefsky and completed the
season with Anshel Schorr in the "Liberty" Theatre.
1927-8 -- R. acted in the
"Public" Theatre with Louie Goldberg.
1928-9 -- R. was in Chicago
with Glickman. Here R. became ill and had to cut short
1929-1930 -- He acted in
Gabel's "Public" Theatre. However, he was ill very often
and, in the end, had to cut short his acting and go away
About the period, Zalmen
"And here there began the
tragedy of the actor; in life - a sick person, a broken
man, pale and weak, behind the curtain -- dangerously
sick, often... more to translate....middle
And Jacob Kirschenbaum
portrayed him as such:
"Even though the deceased
was over fifty years old, he..." more to translate...
R.'s brothers -- Avraham and
Lazer -- were Yiddish folksingers and actors. R.'s
sister -- Rosa Ziegler -- was a Yiddish actress, and the
entire Ziegler family -- Yiddish actors.
B. Gorin -- "History
of Yiddish Theatre", Vol. II, p. 150.
Uriel Mazik --
Bilder-galerye fun unzere idishe shoyshpiler, "Tog",
N. Y., 17 February 1917.
Jacob Kirschenbaum --
Semuel rozenshtayn, "Amerikaner", N. Y., 12 February
Necrology in the New
Zalmen Zylbercweig --
Der farshtorbener semuel rozenshtayn -- zayn karere
oyf der idisher bihne, "Forward", N. Y., 3 February
1930 [reprinted hi his book "Theatre Figures",
Buenos Aires, 1936, pp. 93-101].
Jacob Kirschenbaum --
A trehr oyf dem frishen kvr fun shoyshpiler semuel
rozenshtayn, "Moz" "sh", N. Y., 3 February 1930.
Joseph Rumshinsky --
Semuel rozenshtayn -- der libhober zinger fun
idishen teater, "Forward", N. Y., 7 February 1930.
[--] -- Di letste teg
fun farshtorbenem shoyshpiler semuel rozenshtayn,
dort, 7 February 1930.
Zalmen Zylbercweig --
"Album of the Yiddish Theatre", N. Y., 1937, pp. 20,