During that span of time, S.
-- according to H. Feinstein -- also was in Warsaw with
a Hungarian band, in which he performed together with
S. used to, from time to
time, find employment with cantors, and he used to
especially give himself (?) to the end of the nineties.
According to Itzhak Libresko,
S. deliberately called himself Segalesko (instead of
Segal), in order to identify himself with Mogulesko, who
he used to copy.
Berta Kalich characterized
him as such:
"He was a star of those
stars, who had more success with their "shtel
(stand)", than with their talent. He had a modern
appearance. He had a large head, but with not much of a
neck,... He didn't have...in which to carry a collar,
and therefore he always went around with a loose shirt.
He was fat and had difficulty breathing, always hoarse
and with a large, broad laugh. He never walked, but was
crippled. He never wore different shoes, besides what
easy-to-wear boots. In Bucharest, they loved him. He was
what was called a "beynkel" comic. He used to
laugh or cry, and he especially took off with his
Romanian "doynis", which he didn't sing any
artists(?), such as Tsukerman, but he was a successful
actor. The theatre in Bucharest which had little
relevance at the time, when the second main actor
didn't, Tsukerman and Segalesko, who had too much
promise in drink(?). As a cantor he was as great as all
the actors, as proficient as all of them, and he became
the most proficient".
1919-20 -- S. acted in his
son's (Chaim-Meir) troupe, and in the town of
Turgeniamts he became sick, and in January 1920 he
passed away in Bucharest.
S.'s children: Chaim Meir
and Albert were Yiddish actors; Ernestine -- in Romanian
M. E. from Itsikl Goldenberg, Itzhak Libresko, H. Feinstein, A.
Ostroff and Yefim Zlotagorov.
B. Gorin --
"History of the Yiddish Theatre", Vol. II, pp.
[memoirs] -- "Der tog", N. Y., 6 June, 11 July