(bottom, p. 812) In 1890,
There performed the known actors of New York: Sophie and
Moshe Karp, Sonia Chaimowitz-Heine [later -- Feinman].
Then T. went to Chicago, where he acted together with
Jacob P. Adler in the Standard Theatre, again in a
theatre [Halsted Street, near Depiuster(?) Street],
under the name of "Adler-Thomashefsky Theatre", and also
brought therein the "Professor" Horowitz with his play
"The Johnstown Flood". From then on, T. was invited by
Adler to act in his New York Poole's Theatre (8th
Street), where the productions were performed on
Fridays, Shabbes and Sunday. Here a conflict broke out
between T. and Adler, due to a role. Adler left Poole's
Theatre, and T. became the sole proprietor there.
However after several productions, T. left the theatre
and went again to Chicago, where he acted for several
weeks in Jefferson Hall (Jefferson Street. Manager --
Rubinstein), and then in the Standard Theatre, wherein
there also arrived the New York actors Mogulesko,
Feinman, Israel and Sabina Weinblatt, later also Adler
and Sonia Chaimowitz-Heine.
(top, p. 813) In the
1890-1891 season, T. was engaged, with his wife, for New
York's Roumanian Opera House, and here there was staged
Joseph Lateiner's "Asht khil, oder, Di eyngeshparte
printsesin". On 18 January 1892 T. performed for the
first time in a Gordin role as "Pavlik trubatsh" in
Gordin's first play "The Pogrom in Russia" (under
the providence of the author), but soon he returned to
Lateiner's repertoire ("Dinahle, oder, A gast fun
Due to the concurrence of
the newly-arrived actors from Europe (Bernstein,
Fishkind, Tabachnikoff, Mary and Bernard Wilensky), who
had acted in Adler's Union Theatre, T. abandoned the
Roumanian Opera House, and for the
1892-1893 season took
over the management of Chaimowitz, Adolf Printz, Levy
and Sheinberg, in that until then the German
Theatre, where he staged Lateiner's "Aleksander, oder,
Der kroynprints fun yerushalayim" (T. in the title
About his success in that
play, Bessie Thomashefsky in her memoirs recalls: "My
husband had a great success with that play. The role of
"Aleksander" had provided him with many
followers. He appeared as a prince, much more beautiful
than a prince, just the beauty alone! ....more to
translate...." 'My king,' she wrote, 'He is my
king, the beautiful Aleksander'."
In the same season T. staged
his play "Eyne nakht in bliker strit (A Night in
Bleecker Street), oder, Dos ungliklikhe medkhen (The
Unfortunate Girl)", a drama with singing and dance",
adapted from the English melodrama "The Wages of Sin",
and Lateiner's "Kurkh's utsrus" and "Bat sheba"
(20 October 1893).
Due to the concurrence at
the nearby Windsor Theatre, T. also staged for the first
time on the Yiddish stage (24 November 1893) Seifert's
"adaptation" of Shakespeare's "Hamlet".
When the theatre world at
that time took in the offering, Bessie Thomashefsky
recalls in her memoirs:
"The public...more to
translate....We had performed the play for
several weeks and did good business, but one trouble was
that the audience applauded, cried and called for the
composer, Shakespeare, top, p. 814, [that] he should
come out from behind the curtain... My good girl servant
Becky had...more to translate...."
Soon after "Hamlet", there
was staged Professor Horowitz's "Yft tur, oder, Blest
1894-95 season, T.
staged Lateiner's "Kenig un boyer", Horowitz's "Yonah
hnbi", Jacob Gordin's "Di litvishe brider luria"
(15 September 1894), in which he acted in the role of "Gedalya
Luria", Gordin's "Mkhmd und di yuden in arabie, a
historical opera in four acts, music by Reverend
Kurantman" (18 October 1894), and Zeifert's "Di bat
yehidh". About the same time, T. for the first time
performed in New York as "Uriel Acosta". Bessie
Thomashefsky portrayed an episode in association with
"After acting... more
According to B. Gorin, in
the same season, there was also performed "King Richard
III", composed [?] by B. Thomashefsky".
1895-1896 season, T.
acted at the Windsor Theatre (manager -- Prince and
Sheinberg, who were out of the Thalia Theatre), and here
he staged Horowitz's "Kuzri", Morris Rosenfeld's "Der
letster khn gdol", and Jacob Terr's "Di zilberne
hokhtsayt". In 1896-97 in the
same theatre: Lateiner's "Yudele"
[in Europe popularized under the name "Yidele der
blinder"], Feinman's "Gibor hkheyl", the play "Di hugenotn (The Hugenots)", and Goldfaden's "The Sacrifice
of Isaac". But in the middle of the season, T. went over
with his wife to Edelstein in the
Thalia Theatre, where
they arranged the "Star Combination Productions" [T.,
Kessler and Adler].
About that uniting, T. wrote
in his memoirs:
"The classical plays [which
Kessler had performed in] had no success at the box
office, and ... more to translate.... I
was over in the Thalia Theatre, and we three, Adler,
Kessler and I, were performing for the first time
(start, pg. 815) in Gordin's 'Yidisher glkh'. You can in
your imagination not produce(?), that in New York, even
in the patriotic theatre world, did himself (?).
Speculators had for tickets .....more to translate...."
About the production, Bessie
Thomashefsky recalls: "Already all three stars were on
the stage, and it became alive. Kessler soon took onto
the stage mimicking Thomashefsky. I was frightened, and
Thomashefsky had it, throwing a plate to ground and
broke it; he already threw two plates sometimes.
Kessler....more to translate..."
The production was
similarly described by T. in his memoirs. The end of the
Star Combination Productions was, that after several
weeks of acting together, Kessler went away to Chicago,
and T. with Adler were in the Windsor Theatre, where T.
(with his wife) acted in 1897-1899, and here T. staged
among other scenes, a play "Antignus der held".
According to B. Gorin in
1898 there was also staged and performed T.'s "Der
shkh, oder, Der zkhus fun shabat kodesh".
When Kessler returned and
later again performed with the troupe, was again
arranging the "Star Combination Productions" with T. and
Adler. In the same season, T. also had the opportunity
to act with the guest-starring Morris Morisson.
In the span of the time that
he was there, there was staged Jacob Gordin's "Dovidl
mshurr" (with T. in the title role), Leon Kobrin's
play "Mina" (which had a great success), Gordin's
"Devorahele miukhst" (in which T. had a specially
name "Shimshon Ezynshtol"), and Zolotarevsky's play "Di
shvartse khupah, oder, Der yidisher martirer (The
Jewish Martyr)" [later popular under the name "Der
yeshiva bukher, oder, Der yidisher hamlet"], in which T.
1899-1900 season, T.
was a partner of Edelstein in the People's Theatre,
where he acted for three seasons together with Adler,
also performing in a new repertoire, including
Gordin's "Der gaon" [27 November 1900], and "Di
Top, p. 816. After Adler's
great success in Tolstoy's "(Di) Makht fun
finsternish (The Power of Darkness)", T. staged two
Lateiner plays" "Di 400 yor (The 400 Years)", and
"Gabrialikl" [popular in Europe under the name "Kinke
pinke", which later, just as "Dos pintele yid",
became a synonym for shund in Yiddish theatre].
Here a strike occurred by the union actors; Bessie
Thomashefsky, Adler and wife, Paulina Edelstein, and the
non-union actors: Katzman, Jacob Frank, M. D. Vaksman,
Morgenbesser and wife, Bella Gudinska, and Sabina
Weinblatt, remained to act in the struggle against every
union. However after several weeks T. went under, and
the union actors, together with the stage workers, went
back into the theatre.
In 1901 T. with his wife
went to Europe and had the opportunity to stage in
Berlin Lateiner's "Dovids fidele", for the benefit of
the local Yiddish actors.
Returning to America, he
acted again with Adler in the People's Theatre, and
after Adler's performance of theatre, he remained as the
sole partner with Edelstein and staged with great
success Shomer's "Di goldene medina (The Golden Land)".
About that time, Bessie
Thomashefsky recalls in her memoirs: "My husband
arranged his dressing room [wardrobe room] as a true
resident, but with quite the artistic manner. It was a
true star's dressing room, indeed everything good:
golden mirrors, expensive blue tapestries, lamps in all
colors, expensive furniture, suitable, beautiful carpets
[sofas] and other good things. It was a splendid
At the same time T. staged
Shomer's "Di yidishe imigrantn (The Jewish Immigrant)",
which had a risky, material success. According to B.
Gorin, in the same season, T.'s play, "Der shvartser
yungermantshik" was staged.
season] The coming season Bessie
Thomashefsky calls "The Green Season": "This is the
winter in which the People's Theatre had bathed in bare
"greens": "Di grine moyd" (created from an
English melodrama "Rachel Goldstein"), "Di grine
kinder (The Green Children)", "Dos grine vaybl,
oder, Der idisher yenki dudel (The Green Wife, or, The
Jewish Yankee Doodle)", and "Der griner bukher
(The Green Boy)", in short -- a green season with
many green dollars in the tens of thousands".
On 7 November 1902, T.
staged Leon Kobrin's drama "Der farloyrener gan-eydn
(The Lost Paradise)", in which he acted in the role
of "Bennie Leidman".
His success in this role had
an impact on the selection of his future repertoire.
About this, Leon Kobrin writes in his memoirs:
"Thomashefsky's success with "Der farloyrener gan-eydn "
led him furthermore, for several consecutive years, to
stage better plays. Rarely a play of the other type ...
It is a fact that at that time he often staged better
plays before Adler or Kessler in his theatres... At that
time several prominent American playwrights, such as the
(top, pg. 817) Norman Hapgoods and Hochkins, and as John
Corbin, who often wrote articles about the acting of
Thomashefsky and his company".
About T.'s performance as
"Bennie Leidman", Kobrin writes:
"This play....more to
On 4 December 1902, T.
staged for the first time in Yiddish Goethe's "Faust"
(translated by Leon Kobrin), acting in the role of "Mephisto",
but the play was soon down from the placard. On 23
January 1903 he staged A. Mesko's play "Tkhis hmsim,
oder, Tsvishn himel un erd". On 12 February 1903 --
Zolotaresky's translation "Der beit hamedrash unter
der erd, oder, Di yidishe shtrasn-zingerin (The Jewish
Street Singer)", [a dramatization, made Jewish, from
Victor Hugo's "The Hunchback of Notre Dame"]; on 10
April 1903 -- N. Rakov's "Di shvueh baym sefer torah,
oder, Der yidisher romeo un yulia", and had
completed the season with the offering of Leon Kobrin's
symbolic lay "God in der trost".
season] On 23 October 1903, T.
staged in M. Goldberg's Yiddish translation, Leon
Mantel's adaptation of Richard Wagner's "Parsifal",
which soon was taken off the stage.
season] On 23 December 1904,
under the supervision of Israel Zangwill, there was
staged Kobrin's translation of Israel Zangwill's "Di
kinder fun der geto (The Children of the Ghetto)",
and later Leon Kobrin's play, "Di tsvey shvester (The
season] On 8 February 1907 T. staged
Sholem Aleichem's play "Idishe techter", which
had little success, and soon thereafter, on 21 February
1907, his own "folkshtik in four acts, music by
Friedsell" under the name "Di lemberger moyd, oder,
Der nayer star", which also was kept for a short
time on the placard.
season] On 7 October 1907, he directed Osip
Dymov's "Shma yisrael" (translation by Z.
Kornblit), which was very strongly praised by the
critics, and on 9 November 1907, in his own translation
[?], Gerhard Hauptmann's drama "Di veber (The Weaver)".
About the offering, Bessie Thomashefsky recalls in her
memoirs: "This season we staged "Di veber", and created
a great success. However, soon after "Di veber" -- again
the same play ... more to translate..."
top, pg. 818. In the
summertime, T. acted in his own summer theatre
"Thomashefsky's Paradise Garden" in his summer villa.
In his future repertoire, T.
included Libin's "Der troymer (The Dreamer)", and Abraham
Goldfaden's "Ben-ami (Son of My People)" [25 December 1907].
"Ben-ami" was Goldfaden's
last play. About T.'s offering, Bessie Thomashefsky
recalls: "The father of the Yiddish stage Avraham
Goldfaden felt that "Ben-ami" is his last work, and he
had .... more to translate..."
Similarly, B. Gorin wrote
Quite another related T.
recalled in an article about the play: "I [T.] had the
work staged trey after the demand as Goldfaden
had written it. Goldfaden came to the last two
rehearsals. He.... more to translate..."
season] On 11 September 1908, T.
staged Franz Molnar's "Der tayvl" (in the adaptation of
Rudolf Marks), in which he acted in the title role. On 9
October 1908 there was an adaptation of Adolf Phillips's
play "Der grosery man" (corner grocer). On 19 October
1908, an adaptation (?) of Semeon Yuskevich's drama "Der
kenig (The King)" (acting in the title role). On 6
November 1908 Lateiner's "Der gonev, oder, Der yidisher
birgermayster", and on 27 November 1908 Jacob Gordin's
last play "Dementia amerikana, oder, Der vanzin nokh
(top, p. 819) gelt" [T.'s concurrent-theatre Jacob P.
Adler in the Windsor Theatre) staged at the same time
Gordin's play "Der meshuges in amerika", which a week
later was also advertised under the name "Dementia amerikana", but Jacob Gordin published a letter in the
press, that his play "Dementia amerikana" had no right
to be performed outside of Thomashefsky, and that the
play which was performed in the Windsor Theatre is
really Gordin's without the old play "Amerika", which
for eight years returned to be performed without his
About the offering of
"Dementia amerikana", B. Gorin writes: "This play had
earlier been purchased by Kessler, but ... more to
translate (2nd paragraph, p 819)....
T. wrote by himself about
the offering of the last Gordin play" "With Jacob Gordin
I have made it so, that he should not... more to
In his "History of the
Yiddish Theatre", B. Gorin...more to translate.....
["Dos pintele yid", which
was advertised as being "from Boris Thomashefsky,
subject by M. Zeifert, music by Perlmutter and Wohl",
soon thereafter was brought to Europe as T.'s play, and
there was performed season long by all the Yiddish
troupes, which showed the entire dramatic and
melodramatic repertoire. The play also later was
published in Warsaw not controlled by the author of the
And B. Gorin writes further:
"After, the 'nikht-da-gevezenem' success of 'Pintele
yid' had simply started a khukha utlula over the
better drama. In the warehouse of each theatre, they
gained strength from every one who had just mentioned a
better play. From the other directors there were now
literally an outbreak of jealousy, and they searched for
and stored shtiks that should be able to be
compared to 'Pintele yid'."
In 1909 T. also tested his
abilities in the literary publishing field: he founded a
theatre weekly called "Di idishe bihne (The Yiddish
Stage)", a weekly dedicated to all branches of the
Yiddish drama and Yiddish music". The weekly's price two
cents a volume, with eight pages of newspaper format,
was published from 19 November 1909 until 29 April 1910
[one single complete example can be found with Dov-Ber
Tirkel in Philadelphia].
In the weekly T. printed
more articles and memoirs about Yiddish theatre, and
also several transfers of his unfinished novel "Two
Sisters, an original novel of Yiddish theatre life".
Besides T.'s work, there were published there a lot of
theatre news, articles about theatre, writings from
others, correspondences from various cities and
countries about Yiddish theatre, biographies and
biographical notices about Yiddish actors, and reviews
of offerings in Yiddish theatre.
In December 1909 in the
journal, there was also announced T.'s plan to found a
theatre school. The student needed individual study
wages of two hundred dollars a year in rates. In the
printed form of the application, which the student had
to fill out,.... more to translate....
On 17 January 1910 in the
People's Theatre, there was staged T.'s "Di sheyne
amerikanerin", according to the subject of
Shakespeare's "The Taming of the Shrew", music by
Perlmutter and Wohl; on 26 August 1910 -- "Di [Der]
Nyu-yorker border (The New York Boarder)"
[Boarders?] (a comedy-drama); on 13 October 1910 "Der
poylisher yid (The Polish Jew)", music by Perlmutter
and Wohl, which later was often performed on the Yiddish
stage and in Europe; on 10 November 1910 -- "Der
meshugah (The Lunatic)" (adapted from Herman Reibach);
on 16 March 1911 -- "Jacob's Children, a drama,
taken from Russian, adapted by Boris Thomashefsky", and
on 13 April 1911 his operetta "Dos dorfs-meydl",
subject by Rakow, music by Perlmutter and Wohl".
From time to time T. also
staged plays by Kobrin, Libin and Zolotarevsky. Then he
stage-directed and acted in the main roles in Kobrin's "Froyen-libe"
(27 August 1909), Zolotarevsky's "Dos tsveyte vayb"
[in T.'s adaptation], Kobrin's "Der shturm fun lebn"
(16 September 1910), and Libin's "Gerekhtikeyt"
(23 December 1910).
In the summer of 1911 T.
traveled to Europe and acted in several productions in
Yiddish theatre in London.
1911-1912 season T.
opened the People's Theatre with Avraham Shomer's play "Eykele
mzik (The Reformed Convict)", which he had
stage-directed. The main role was performed by Rudolph
Schildkraut, who T. had engaged for the troupe, and with
him in the title role there was also staged on 27
October 1911 Z. Libin's "Der gedanken-lezer"; on
6 October 1911 T. staged "Di neshome fun mayn folk,
oder, Der ungarisher zinger, an operetta by Boris
Thomashefsky, music by Perlmutter and Wohl". The
operetta soon thereafter had a great success performing
across all the Yiddish stages of the world, and without
the knowledge of the author, it was published in Warsaw
under the name "Di neshome fun mayn folk (Di neshome fun
yisrael), an operetta in four acts by N. Rakow [!],
publisher M. Goldfarb, Warsaw, 1926" [40 pp., 16°].
On 30 November 1911 T.
staged Libin's play "Blinde libe (Blind Love)",
which he also in the later seasons very often played,
and on 28 December 1911 -- Dr. Thedor Herzl's "Di
naye geto (The New Ghetto)". In the middle of
February 1912, S. left the troupe, and T. again became
the main actor of the troupe. Here he, on 22 February
1912, staged Z. Libin's "Fremde kinder (Foreign
Children)", and on 31 March 1912 "Di rayze nokh
amerike by Boris Thomashefsky, subject by Dr. Schnitzer, music by Perlmutter and Wohl".
top, p. 822.
1912-13 season, it
began with a trust between Thomashefsky-Adler and T. In a short time, there was performed in Adler's People's
Theatre his previously performed repertoire. By the time
it was built (on Houston Street and Second Avenue) by
Louie Minsky and Max B. Stoyer a new theatre under the
name "Adler-Thomashefsky's National Theatre",
with Adler and Thomashefsky as lessees and directors,
and with Max R. Wilner and Joseph Edelstein as general
managers. The theatre's opening ceremony on 24 September
1912 with a holiday production, in which there were
staged a single act from Z. Libin's "Blinde libe" (with
Boris Thomashefsky), Shakespeare's "Shylock" (with Jacob
P. Adler), and Jacob Gordin's "Shloimke sharlatan" (with
David Kessler). The next day, on 25 September 1912, T.
staged his operetta "Di yidishe kroyn, subject by Rakow,
music by Perlmutter and Wohl". The operetta was later
performed for a long time almost on all the Yiddish
stages. The productions would now be divided between
Adler and T. : sometimes Adler used to stage his
repertoire, and T. used to go out to perform in the
province, and sometimes the reverse.
On 13 December 1912, T.
staged Zolotarevsky's "Der eyntsiker zun", and then went
out on a long tour across the province, where he also
directed for the first time Leon Kobrin's comedy "Britsh
of promis (Breach
of Promise)", acting in the main role of "Bertshik",
under which name ("Bertshik in amerike"), the comedy was
also later performed. Returning to New York, he directed
the same comedy on 21 February 1913 in the National
Theatre. After a strike (in March 1913), T. directed on
22 April 1913, Zolotarevsky's musical drama "Di yidishe
fon, oder, Mayn natsion, music by Perlmutter and Wohl",
and went out in May 1913 to Europe, where he also took
with him his newly written operetta "Dos farblondzhete
About the former condition
of Yiddish theatre in America and its surrounds, which
had led to T.'s travels, B. Gorin writes: "In New
York....more to translate...."
top, pg. 823
The number of large
theatres....more to translate...."
In May to June 1913 T.
guest-starred (together with Celia Adler and Jacob
Hochstein from America) in London's Yiddish Pavilion
Theatre, where he staged for the first time Libin's
plays "Gerekhtikeyt" and "Blinde libe", Kobrin's "Breach
of Promise", under the name "Bertshik in Amerike",
Goldfaden's "Ben-Ami", and several plays of the
performed repertoire. Soon thereafter he went to
guest-star (without Celia Adler) in Poland (Warsaw,
Lodz, Galicia (Lemberg) and Russia (Odessa), where he
also staged Kobrin's plays "Der farloyrener gan-eydn"
and "Der blinder muzikant".
T.'s guest-role had evoked a
great interest, because first, iz der min
outlandish Yiddish guest-starring actors were quite
rare, and secondly, T.'s name was very popular both as
the founder and one of the prominent representatives of
Yiddish theatre in America, as a successful operetta
The guest-roles also...more
And Dr. Mukdoni writes in
his memoirs about T.'s guest-roles: "I must say that
Thomashefsky had made a very good impression on
me....top, p. 824, more to translate....
A relatively ground moral
success was had my T. in Lodz, where he guest-starred
for several weeks in Zandberg's Grand Theatre, but when
he returned later to America, he published in the
"Forward" (12, 19, 26 October 1913) a series of articles
in which he made fun of Lodz's Yiddish theatre, which
evoked a rebuttal attack in "Di varhayt" (16 December
1913). After visiting Berdichev, when T. for a short
time had performed in Yekaterinoslav and in Odessa and
returned to America, wherein he had -- through the
mediation of Dr. Mukdoni -- brought the dramatist Osip
1913-1914 season, T
again directed the National Theatre, where he had on 12
September 1913 staged H. M. Gastwirth's translation of
L. Tolstoy's drama "Likht in der finsternish", under the
name ""Tolstoy's lebn, oder, Likht in der finsternish",
in which T acted in the role of "Nikolai" Ivanovich
Saruntzev". Soon thereafter, T. brought from London the
prima donna Fanya Zusmer, and from Poland the prima
donna Nadya (Esther) Neroslavska, and the actor Lazar
Freed, with whom he staged several already performed
operettas, and on 15 October 1913 his own new operetta
"Dos farblondzhete shefele", music by Perlmutter and Wohl.
Here there came under the "Beilis epoch", when the
Yiddish theatre staged a play from Beilis-process, and
also (pg. 825, top) T. staged on 24 November 1913 Moshe
Schorr's time piece "Mendel Beilis", performing in the
On 12 December 1913, T.
staged, together with the author, Osip Dymov's drama "Der
eybiker vanderer (The Eternal Wanderer)" [Yiddish" Dr. A. Mukdoni], music by
Sandler, acting in the role of "Mordechai Berman".
About the offering, B. Gorin
writes: "Here...more to translate..."
The play remained in T.'s
repertoire for several years.
On 12 February 1914, T.
staged, together with the author [in the anonymous
translation of B. Rivkin] Osip Dymov's play "Der
gedungener khasun [the play later-to-become-famous
"Yoshke muzikant (Yoshke the Musician), oder, Der zinger
fun zayn troyer (The Singer of His Sorrows)"], in which
he acted in the role of "Yoshke". The play had not enjoyed events, and on
20 March 1914 T. staged his own "Himel, erd un shvindl, a
melodrama with music and dance in four acts, music by
Perlmutter and Wohl", in which he acted in he role of "Barnato
the Detective". Also the play did not stay long, and T.
ended the season with performing repertoire, and after
the season he went on tour across the American province.
1914-15 season T.
opened on 28 August 1914 at the
National Theatre with Osip Dymov's
play "Milkhome (War)", which wasn't
maintained for a long time, and on 2 October 1914 T.
staged his own operetta "Di poylishe khasene (The Polish
Wedding), music by Perlmutter and Wohl". The offering
was a success and remained for a certain time in
repertoire, and initially in 1928 it was staged in
Poland by the Kompaneyets troupe, and was thereafter
without the knowledge of the author published in Warsaw
[The Polish Wedding, a folks-shtik in three acts
with a prologue and epilogue by Boris Thomashefsky,
publisher L. Goldfarb, Warsaw 1928, p. 48, 16°].
Sholem Asch arrived here in
America, and T. staged his play "Unzer gloybn", in which
he acted in the role of "Lazar". Also the play was not
maintained for a long time, and on 24 December 1914, T.
staged his own "symbolic play" under the name "A shtikele glik, oder, Der mazeldiker bukhur". Also the
play soon went away from the stage.
On 8 January 1915 Max R.
Wilner left the partnership, and T. remained the sole
bel-habit of the National Theatre, which carried
from now on the name "Thomashefsky's National Theatre".
Here T. staged on 22 January 1915 Y. Zolotarevsky's time
piece "Der yidisher martirer in Amerike (The Jewish
Martyr in America)" [the Leo Frank opera], and on 5
February 1915 Avraham Shomer's comedy "Der griner
milyoner (The Green Millionaire)", in which T. acted in
the title role. The play remained for a long time in T.'s repertoire.
p. 826. In the same season,
T. acted in the film of the operetta "Di tserisene neshomus".
On 3 September 1915 T.
1915-16 season in his
his four-act operetta "Dos turhle", (music by Perlmutter
and Wohl), which remained on the stage for a long time,
and on 15 October 1915 he staged Leon Kobrin's drama
"Israel's hofenung, oder, Heilike libe", in which he
acted in the main role of "Israel Poliakov". The play
stayed for several weeks, and T. received much
recognition from the critics for his acting. On 10
December 1915 he staged Moshe Richter's time-piece "Milkhome-kurbunus",
which was simultaneously performed by Adler in another
New York theatre. On 4 February 1916 -- Moshe Schorr's
drama "Toyt-shtrof", and on 9 March 1916 [in Newark],
and on 10 March [in New York] Leon Kobrin's comedy "Di nekst-dorike", which remained for a certain time in T.'s
repertoire. The season ended with the offering by N.
Rakow's musical comedy "Hello New York", music by Perlmutter and Wohl.
0n 22 September 1916 T.
opened the 1916-17 season in the
National Theatre with
his offering of Y. Zolotarevsky's "Dem tayvels makht
(The Devil's Power)",
and on 11 October 1916 he staged his own four-act
operetta "Dos tsebrokhene fiedele" (music by Joseph
Rumshinsky). For the first time on the Yiddish stage in
America there was staged the operetta a ballet and the
orchestra was settled with 24 musicians On 23 November
1916 T. staged with the newly arrived actor Samuel
Goldenburg the play "Oyf zindike erd", and
left others to guest-act in his theatre, and he went with the
repertoire across the province. He left, but soon
returned, and on 12 January 1917 he staged Osip Dymov's
play "Der gayst fun shtot", in which he acted in the
role of "David Steinman". The play, however,
was soon taken down, and on 26 January 1917 T. staged the
four-act time-piece "Yidishe milkhome-klus" by N. Rakow
and Miller; on 2 March 1917 -- Z. Kornblit's comedy "Up
town and Down town" (music by Rumshinsky), and on 7 April
1917 -- Dr. H. Zolotarov's "Far ire kinder" with Bertha Kalich.
1917-1918 season, T.
opened his National Theatre on 31 August 1917 with Z. Libin's play "Der eynitsiker edus", on 26 September 1917
he staged his own four-act operetta "Mazel Tov" (music
by Joseph Rumshinsky); on 16 November 1917 -- his
adaptation of B. Kovner's four-act comedy "Yente
telebende" (music by Joseph Rumshinsky); on 21 December
1917 -- Leon Kobrin's play "Tsurik tsu zayn folk" in which he acted in the role "Artur
Blek", and on 11
January 1918 -- his own operetta "Di khazante" [subject
taken from "Di finf frankfurter"], (music by Joseph
Rumshinsky), which remained for a long time in his
repertoire. T. ended the season with the offering (22
March 1918) from his own comedy in three acts with a
prologue "Mayn vayb iz in der kontry, hurry" (music by
top p. 827. For the
season T. opened his National Theatre (30 August 1918)
with his own three-act operetta "Di lustike yidelekh"
(Music by Joseph Rumshinsky). On 3 October 1918 he
staged in his adaptation Semyon Yushkevich's drama "Hunger",
and on 11 October 1918 -- Lateiner's play "Dos shpil
fun lebn, oder, Di makhutunim", which also stayed
for only a short time; on 1 November 1918 he staged
Anshel Schorr's time-piece "Nokh der milkhome";
on 27 November 1918 -- a handed-over (ibergeblibene)
Gordin play "Vilde kozakn, oder, "Yidn un heyeremakn",
in which he acted in the role of "Nikolai" (as the
previous offering of the season, the play also nisht
kayn arikhs-imim); on 13 December 1918 -- his
adaptation of H. Kalmanowitz's comedy "Upstairs and
Downstairs"; and on 11 February 1919 -- his own
three-act operetta with a prologue "Dos alte lidele"
(music -- Joseph Rumshinsky), which he staged until
Pesach [April], when he began to tour across the
T., (united with David Kessler), opened on 29 August
1919 in his National Theatre
with H. Kalmanowitz's operetta "Di tsvey khazanim,
a free adaptation of Boris Thomashefsky, music by Herman
Wohl". (The second chief role in the operetta was played
by T., as "Mordechai Zilbert", and Kessler as "Yerukhem").
On 8 October 1919, T. staged his operetta "Dos
heylike lid, in three acts with a prologue, music by
Herman Wohl". (T. as "Grodner the Actor", and Kessler as
"Mira Michailovich"); on 26 October 1919 T. staged
Zolotarevsky's "Kinder kumt aheym" (role of
"Israel Landau"); on 16 January 1920 -- Osip Dymov's "Der
yom hdin" (T. as "Jacob Bauman"). On 6 February 1920
-- Harry Thomashefsky's operetta "Parlor flor un
beysment (Parlor Floor and
Basement) (?), music by Milton and Harry Thomashefsky",
and he ended the season (on 4 March 1920) with his
adaptation of Gershom Bader's "Di goldene royze"
(role of "Ertsbishof of Lemberg"), and with a large tour
across the American province and Canada.
1920-21 season, T.
opened his National Theatre
with a performance of L. Sniegoff (2 September 1920) in
Strindberg's "Der foter (The Uncle)", and from
Esther Sniegoff (3 September 1920) in Artsibashev's "Eyferzukht".
Initially on 10 September 1920, T. performed as "Isaac
Levkowitz" in I. Lillians's comedy "Mayn tatens vayb",
and on 29 September 1920 he performed with Michal
Michalesko, Zina Goldstein and Herman Serotsky in
Kalman's operetta "Dos ungarishe meydl, oder, Di
tshardash-firshtin"; on 12 October 1920 -- Aaron
Lebedeff in Wolf Shumsky's musical comedy "Liovke
molodetz". At the same time, there almost ended T.'s
period as the first actor and regisseur in his theatre.
He went out to guest-star for several months across the
American province, and when he returned, he staged on 24
December 1920 "Dos muzikalishe shtetl, an
operetta in three acts, a free adaptation (top, p. 828)
by Boris Thomashefsky, music by Leo Low" (acting in the
role of 'Daniel Vin"), then he again went on a tour
across America., visiting California, where he acted and
wrote about his travels in several articles in the
"Forward", and he again performed in New York on 14
April 1921 in Shomer's "Der griner milyoner (The
22 September 1921 in his
National Theatre, he opened with Rudolph
Schildkraut performing in "Der vanderer" by W.
Samuel, translated by Henry Gastwirth. At the same time
T. opened a theatre, "The Fourteenth Street Theatre",
which he staged and acted on 9 October 1921 in Avraham
Shomer's "Hatikva", but after several productions
he closed the theatre, and T. returned to his
Theatre, where he staged on 28 October 1921 Yitzhak
Lash's "Yoshke khvat", with Lebedeff in the main
role. On 25 December 1921 T. staged his operetta "Lebedik
un fraylekh, oder, Vi got in odes", (music by Herman
Wohl), in which he acted i the role of "Moshe Leib",
then he guest-starred in Gabel's 116th Street Theatre,
and first on 10 March 1922 he returned to his theatre
with his new offering "Der goldener fodem, a
folks-shtik in three acts by Boris Thomashefsky,
twenty-four musical numbers, geklibn by A.
Goldfaden, arranged by Herman Wohl" (a glorification of
Avraham Goldfaden, in which T. performed in two roles:
as "Avraham Goldfaden", and as "Boris Thomashefsky".
About his play "Der goldener
fodem", Ab. Cahan writes:
"Boris Thomashefsky has
taken the history of the people who had founded the
Yiddish theatre and had created a play for it. The hero
of the piece is also Avraham Goldfaden. ...Thomashefsky
idealizes Goldfaden. He made him a human being who
strove to the Yiddish theatre as to a great ideal; he
made him a dreamer, who lies only in the sense of art,
beauty, light and understanding. Golfaden's famous song
"Shtey oyf mayn folk, ervakh fun dayn driml" created for
Thomashefsky a special issue [leyt-motiv] . With
this... .more to translate...."
Later T. toured the province
and ended the season by guest-starring in the New York
1922-1923 season, T.
opened his National Theatre
on 23 September 1922 with his "Toyznt un eyn nakht (A
Thousand and One Nights), a fantastical operetta in
three acts by Boris Thomashefsky, music by Herman Wohl".
On 16 October 1922 there performed in a theatre Clara
(top, p. 829) Young in B.'s "Di grine kuzine",
and on 3 November 1922 T. staged to his benefit Yuri's
play "Der kenig fun shmates" (Y. M. Osherowitz),
and guest-starred over the province and in New York's
theatres, until he staged on 9 February 1923 in the
Lyric Theatre in his adaptation "Dos odeser yidl"
by A. Kartozhinski. Around the
end of the season T. became sick, and he had to cut
short his acting, and his manager Louis Goldberg,
together with Mike Saks took over Thomashefsky's
National Theatre and called it "National Theatre".
When T. visited, he guest-starred in Montreal, Toronto,
Cleveland, Pittsburgh and other cities.
1923-24 season, T.
opened [for the first time] a Yiddish theatre on
Broadway, the "Thomashefsky
Broadway Yiddish Theatre" (44th Street, West
of Broadway), and he staged with Schildkraut and Satz on
3 September 1923 Kartozhinski's "Di drey kleine
biznes-leit" [the earlier produced play "Dos odeser
yidl"] (music by Y. Cherniavsky); on 30 September 1923
he directed here in his combined play "Ikh un du"
with music from Goldfaden, Rumshinsky, Friedsell, Wohl
and Cherniavsky; on 7 December 1923 the German actor
Adolf Phillip performed in T.'s theatre in Yiddish in
his own comedy "Auction Pinochle" (T. acted
with), and then T. brought, together with his son Harry
and William Rolland, the "Vilna Troupe" from London,
where they began to perform in the theatre on 29 January
1924, and in a span of time in which the troupe acted
here, T. guest-starred in his repertoire in Brooklyn's
The "Vilna Troupe" performed
in Thomashefsky's for only a few weeks, and together
moved to act in other theatres, closed T.'s theatre, and
T. with his troupe guest-starred across the province and
across the New York theatres.
In May 1924 T. traveled to
South America, where he acted for several months.
T. returned in October 1924 and soon performed in the
Theatre in a sketch "Der khazan mit der khazante".
Then he again went on tour, guest-starring across the
province, and in January 1925 he guest-starred together
with Regina Zuckerberg in in New York's Grand Theatre,
where he staged on 22 January 1925 a dramatization of
his article about Argentina, under the name "Zindike
neshomus fun buenos aires, an interesting scene
about life in Argentina". After acting for several
weeks, T. staged on 2 February 1925 in Loew's vaudeville
theatre in English in a sketch "Der griner millyoner",
again soon touring with Yiddish theatre across the
American province, returning to New York and staging on
5 June 1925 in the Prospect Theatre his play "Ikh un
du", and on 13 June 1925 he went to Europe where he
guest-starred for a short time.
For a half-season
1925-26, T. was
manager of a Yiddish theatre in Toronto (Canada), then
again he toured across the American province, where he
staged his dramatization of shtayger-protses, and
on 23 April 1926 he again performed in New York (Amphion
Theatre) in repertoire.
1926-27 season, T.
led a Yiddish troupe in Philadelphia, and since in
Philadelphia, Sunday performances were forbidden, he
acted on Sundays in New York's Brownsville's Lyric
Theatre, where he staged on 12 September 1926 M.
Nestor's operetta "Dos rbins hoyf", (music by
Several weeks later, T. went
over with his Philadelphia troupe to New York's Lipzin
Theatre, where he acted for only a short time.
In February 1927 he staged
in Philadelphia's Garden Theatre the operetta "Bar
Mitzvah" (music -- Philip Laskowsky, author, Boris
Thomashefsky). The playwright Louis Reingold
batsaykhnt damolt T.'n (see "Forward", N. Y., 25
March 1927) as plagiarized, supported thereof, which
(also several songs and new jokes), was the same play
that in 1924 was performed through Jacob Silbert at the
Hopkinson Theatre under the name "A grus fun der heym"
by L. Reingold, and that T. by himself had staged the
play later with American guest-starring actors brought
to Europe, where it was the sensation of the theatre
season, and the same operetta, in a new adaptation with
music by Joseph Rumshinsky, which on 25 November 1931
was staged through T. in New York's Second Avenue
Theatre under the name "Der mames zundele", when
T. guest-starred there.
On 24 September 1927 T.
opened the [1927-28]
season in Philadelphia's
Metropolitan Opera with the operetta "Chad
gadya" (music by P. Laskowsky). The theatre existed
but for a short time and, in December 1927 T. performed
in English vaudeville, later he toured as a guest-star
in his old repertoire across the Yiddish theatres of
America, and for the 1928-29
season, he founded a Yiddish troupe for
Angeles and San Francisco).
In April 1929 he went to
Europe, where he guest-starred (together with Ruth Reney)
in England, France, Poland, Romania and Czechoslovakia,
and for a certain time also with Willy Godik and Ola
Lillith. In November 1930 he returned to America and
staged on 26 November 1930
in the Public Theatre
his operetta "Eretz Yisrael" (music -- Ab.
Ellstein), in which he acted in the role of "Israel".
On 9 January 1931 he staged
in the Lyric Theatre his play "Froyen-tayvel"
with Bertha Rosenberg in the title role. The play was
soon taken off the stage.
After acting for several
months in the Public Theatre, and later across the
American province, T. decided to found a Yiddish theatre
in the English language. The first attempt (top, pg.
831) he made was with the offering of 10 September 1931
in New York's Selwyn Theatre his son Harris' adaptation
of his operetta "Di khazante", under the name "The
Singing Rabbi" (with music by Joseph Rumshinsky and
Harry Lubin, lyrics by L. Wolfe Gilbert, staged by
William E. Morris). The offering was very sharply
criticized by the English and Yiddish press and after
several performances closed the theatre. T began now
acted in the English language in a sketch "The Green
Millionaire" [adapted from Kobrin's play] across the
vaudeville houses of R. K. O., then he returned to the
Yiddish stage, guest-starring across several provincial
cities and joined the Second Avenue Theatre, where he
staged on 25 November 1931 a revival of his operetta
"Bar Mitzvah", under the name "Der mames zundele"
(music -- Joseph Rumshinsky), and then went over to the
Lyric Theatre, where he acted for several months.
1932-33 season, T.
took over the Gaiety Theatre
in Williamsburg (Brooklyn, New York), which he opened
with his play "Di ende fun rusishn tsar (The End of
the Russian Tsar)" (music -- J. Brody), which on 21
October 1932 was performed in Philadelphia's Casino
Theatre under the name "Rasputin". In October
1932 he staged his operetta "Unzer rbinyu" (music by
Joesph Brody), and when he brought as a gust-star from
Europe the actor Isaac Samberg, he went alone to
guest-star across the province. The Gaiety Theatre
closed soon. T. then went to the McKinley Square Theatre
to perform, in which the jurisdiction of the Yiddish
Actors Union stood out, and thereby evoked an action of
protest against him by the Actors' Union.
Besides the journal "Di
idishe bihne", T. issued ["Di idishe bihne, a weekly
dedicared as a granch of the Yiddish drama and Yiddish
music". New York, 19 November 1909 -- 29 April 1910],
and his book "Thomashefsky's Theatre Writings", New
York, 1908 [108 pp., 16°], he had also written very many
articles about Yiddish theatre, and from time to time
published memories about the first years of Yiddish
theatre in America, and about the first actors. He also
published portrayals of his trips throughout the world,
in which despite all the mistakes there was in them
existed many characteristic material of the history of
Jewish life in America and other countries, especially
about Yiddish theatre.
T. began his articles in "Di
idishe bihne" from 10-31 December 1909, then he had his
travels and acted in Europe (especially in Poland and
Russia), writing in the "Forward" (21 September 1913 --
18 January 1914), published a series of memoirs
("Forward" from 1 February until 19 April 1914), theatre
feuilletons, articles about Schildkraut and Sam Shneyer,
and travel impressions of Berlin ("Forward", 24
September -- 21 November 1915), travel impressions of
Paris ("Forward", 5, 19 December 1915), about Jacob
Spivakovski and theatre feuilletons ("Forward", 2, 9
January and 26 March 1916).
top, p. 832. On 2 April 1916
T. began to publish in the "Forward" his memoirs of the
suppression of Yiddish theatre in America, which was
published almost every Sunday until 16 July 1916, then
from 26 November 1916 until 24 December 1916, from
18 March 1917 until 29 April 1917, on 13 May and 3 June
1917, and from 7 October until 2 December 1917, when
they were interrupted, and not finished.
In the "Forward" of 28 March
1918 he published an article about the Actors' Union,
and in the same newspaper of 31 August -- 5 September
1918 a series of articles about deceased actors Morris
Morrison. Later an article about David Kessler (23 May
1920), theatre feuilletons (26 February, 18 November --
3 December 1921, 6 January -- 4 March 1922), and travel
impressions of California (12-26 March 1921), Berl
Bernstein (3 September 1922), Moscow Russia's Art
Theatre (4 February 1923), memories and theatre
feuilletons (25 February, 30 June, 3 August, 1, 7, 10
September 1923), Krantzfeld (11 August 1923), Golubok
(18 August 1923), Spector (25 August 1923), Shenkman (10
November 1923), "Vilner Troupe" (12 December 1923).
During and after acting in
South America T. wrote ("Forward", 12 July 1924 -- 1
January 1925), of Jewish life in Argentina and Brazil
and the Yiddish theatres there, and in the collection
book "Di geshikhte fun khazanus" (New York, 1924), he
wrote about his memories as a choirboy in his youth.
In the "Forward" of 7
February 1925, he described his firth performance on the
English stage. In the "Morning Journal" (7-26 April
1926), he published his memories of Jacob P. Adler, and
in the "California Yiddish Voice" (4 January -- 7 May
1929) about the first Yiddish productions in America.
During his guest appearance
in Europe, T. published memoirs about Adler ("Parizer
haynt", 10, 11 February 1929), an article about the
conditions of Yiddish Theatre in Poland and Romania
("Forward", 22 May 1930), and memoirs about Schildkraut
("Nayer lodzer folksblat", 19, 20 October 1930).
B. Gorin remarked about T."
"Thomashefsky was a young
boy, almost even a youth, when he arrived in America,
and he, more as every other actor, had ... more to
top, p. 833.
more to translate..."
"It would be false to say
that Thomashefsky had ... more to translate..."
Finally Ab. Cahan writes:
"In these years of "historic operas" and "biblical
princes", he was exactly in his place....more to
translate... in the Horowitz years."
Gershom Bader sees it differently: "Boris Thomashefsky
is a good stage director, more than good. The stage
lives under his hand, but the figure.... more to
top, p. 834
Leon Kobrin characterizes T.
thus: "Two Thomashefsky's were united. As in life, two
on the stage, and ... more to translate..."
So also, during ...
more to translate....
Thus, Thomashefsky --
more to translate....
top, p. 835
However, this Thomashefsky,
the Thomashefsky... more to translate..."
Zalmen Zylbercweig writes:
"Boris Thomashefsky... more to translate..."
T.'s published plays in
Melody Publishers, Di
idishe neshome, oder, Berl Kokhlefel, a musical
drama in four acts by Jacob Terr, adapted by B.
Thomashefsky, Warsaw, Tr'e [1909, 56 pp., 16°]
Dos pintele yud, an
operetta in four acts by B. Thomashefsky, Warsaw,
1911 [60 pp, 16°].
Di neshome fun mayn
folk, (Di neshome fun israel), an operetta in four
acts by N. Rakow [really T.'s], publishing house M.
Goldfarb, Warsaw, 1926 [40 pp, 16°]
Di poylisher khasene, a
folks-shtik in three acts with a prologue and
epilogue, by Boris Thomashefsky, Publisher L.
Goldfarb, Warsaw, 1928 [48 pp, 16°]
Shloimke un rikel, a
comic operetta in four acts by B. Thomashefsky
[really J. Lateiner's "Zayn vabs fraynd"]
Z. Reyzen --
"Lexicon of Yiddish Literature", Vol. I, p.
B. Gorin --
"History of Yiddish Theatre", Second volume.
B. Gorin -- "Kritik,
"Der theater zhurnal", N. Y., 15, 1902.
A. K. [Cahan] --
A vikhtige, ernste drame in pipels theater,
"Forward", N. Y., 9, 10 October 1907.
R. B. [Sh.
Yanovsky] -- In theater, "Fraye arbayter shtime",
N. Y., 23 November 1907, Thomashevsky's "Theatre
shriften", N. Y., 1908.
R. B. -- In
theater "Fraye arbayter shtime", N. Y., 31
R. B. -- In
theater, "Fraye arbayter shtime", N. Y., 28
November; 5, 12 December 1908.
Thomashefsky -- Adler un thomashevsky in amolige
tsaytn, "Di idishe bihne", N. Y., 10, 17, 3
Z. Kornblith --
"Di shehne amerikanerin", "Di idishe bihne", N.
Y., 21 January 1910.
-- Di narishe vokh in pipls theater, "Forward",
N. Y, 20 October 1910.
R. B. -- In
teater, "Fraye arbayter shtime", N. Y, 5
Gershom Bader --
Gevezene, "Theater un moving piktures", N. Y.,
A. Frumkin --
Thomashefsky in london, "Forward", N. Y, 13 June
Dr. A. Mukdoni --
Der repertuar fin's yudishen teater in rusland
far dem yohr tre"b, "Der pnks" (Red. Sh. Niger),
Vilna, Tre"g, p. 265.
M -- m [Menachem]
-- Teater-felieton, "Haynt", Warsaw, 30 June
S. Schlansky --
Ferteydigt thomashefskin, "Theater un moving
piktures", N. Y., 9, 1913.
D. B. -- In
theater, "Fraye arbayter shtime", N. Y., 5
D. B. -- In
theater, "Fraye arbayter shtime", N. Y., 25
Thomashefsky -- [Unter farsheydene keplekh],
"Forward", N. Y., 21, 28 September; 5, 12, 19,
26 October; 9, 16, 23 November; 7, 21 December
-- Kunst un dankbarkeyt, "Di varhayt", N. Y., 16
Ab. Cahan -- Osip
dymov's naye piese in thomashefsky's theater,
"Forward", N. Y., 30 December 1913.
Thomashefsky -- [Unter farsheydene keplekh],
"Forward", N. Y., 4, 11, 18 January; 1, 8, 15,
22 February; 15 March; 19 April 1914.
D. B. -- In
theater, "Fraye arbayter shtime", N. Y., 24
Ab. Cahan --
Sholem ash's naye piese in thomashefsky's teater,
"Forward", N. Y., 3? November 1914.
Olgin -- Der "griner
milyoner" in thomashefsky's theater, "Forward",
N. Y., 21 November 1915.
Gustav Blum --
Boris Thomashefsky -- An Interview, "East and
West", N. Y., 9, 1915.
Thomashefsky -- [Unter farsheydene keplekh],
"Forward", N. Y., 2, 9 January; 26 March; 2, 9,
16, 23, 30 April; 7, 14, 21, 29 May; 4, 18, 25
June; 2, 16 July; 26 November; 10, 17, 24
Ab. Cahan -- Di
naye operete in thomashevsky's theater,
"Forward", N. Y., 20 October 1916.
D. B. -- In
theater, "Fraye arbayter shtime", N. Y, 21
Thomashefsky -- [Unter farshedene keplekh],
"Forward", N. Y., 18, 25 March; 1, 8, 15, 22, 29
April; 13 May; 3 June; 7, 14, 21, 28 October;
11, 25 November, 2 December 1917.
Ab. Cahan -- Di
naye idishe operete in thomashevsky's theater,
"Forward", N. Y., 2 October 1917.
D. B. -- In
theater, "Fraye arbayter shtime", N. Y., 6
Ab. Cahan --
Vider a idishe operete in thomashefvsky's
theater, "Forward", N. Y., 22 January 1918.
Israel the Yankee
[Fridman] -- Di khazan'te, "Yidtagenblat", N.
Y., 1 February 1918.
Joel Entin -- In
un arum theater, "Di varhayt", N. Y., 24
Thomashefsky -- Vi men nehmt oyf naye mitglider
in der idisher aktyoren yunion, "Forward", N.
Y., 29 March 1918.
Thomashefsky -- [Vegn moris morison], "Forward",
31 August 1, 4, 5 September 1918.
D. B. -- In
theater, "Fraye arbayter shtime", N. Y., 7
Ab. Cahan -- Di
naye operetke in thomashevsky's theater,
"Forward", N. Y., 24 September 1918.
Ab. Cahan --
Yuskevitsh'es "hunger" in tomashevsky's theater,
"Forward", N. Y., 5 October 1918.
D. B. -- In
theater, "Fraye arbayter shtime", N. Y., 7
D. B. -- In
theater, "Fraye arbayter shtime", N. Y., 21
Israel the Yankee
-- Up-stairs un down-stairs, "Yidtagenblat", N.
Y., 10 January 1919.
Hillel Rogoff --
Dos "alte liedele" in thomashefsky's neshanal
theater, "Forward", N. Y., 29 February 1919.
Hillel Rogoff --
"Dos heylige lied" in thomashevsky's theater,
"Forward", N. Y., 23 October 1919.
Thomashefsky -- Thomashevsky dertsehlt vegen
zayn bakantshaft mit david kessler'n, "Forward",
N. Y., 23 May 1920.
Ab. Cahan --
Leow's operete in thoashevsky's theater,
"Forward", N. Y., 4 January 1921.
W. Edlin -- Leo
leow's operete in thomashevsky's teater, "Tog",
N. Y., 5 January 1921.
Joel Entin --
"Dos muzikalishe shtetl" in tomashevsky's
neshanal teater, "Di tsayt", N. Y., 5 January
Aaron H. Rosen --
Leow's "muzikalishe shtetel" in thomashevsky's
teater, "Yidtagenblat", N. Y., 5 January 1921.
Votan -- Arum
teater, "Fraye arbayter shtime", N. Y., 8
-- "Yidish teater", Bialystok, 1921, Vol. II,
Morris Barkin --
Vegen dos "muzikalishe shtetel", "Fraye arbayter
shtime", N. Y., 29 January 1921.
Thomashefsky -- [Unter farsheidene keplekh],
"Forward", N. Y., 26 February; 12, 20, 26 March;
18 November; 2, 9, 16, 23, 30 December 1921.
Der lebediker --
Vintshevsky in tomashevsky, "Fraye arbayter
shtime", N. Y., 24 June 1921.
Ab. Cahan --
Boris thomashefsky in shomer's a naye piese,
"Forward", N. Y., 8 October 1921.
Ab. Cahan -- Di
naye operetta in thomashefsky's theater,
"Forward", N. Y., 12 January 1922.
Leon Blank --
Mogulesko tsukrigt zikh mit yakov gordin tsulieb
a liedel in a piese, "Forward", N. Y., 22
Israel the Yankee
-- Lebedig un frehlikh, "Yidtagblat", N. Y., 8
Ab. Cahan --
Thomashevsy's "goldener fodem", "Forward", N.
Y., 22 March 1922.
Thomashefsky -- [Unter farsheidene keplekh],
"Forward", N. Y., 6, 13 January; 11 February; 4
March; 3 September 1922; 4, 25 February, 30
June, 3, 11, 18, 25 August; 1, 7, 10 September,
10 November, 12 December 1923.
G. Rivesman --
Vos far a idisher theater ken hoben erfolg oyf
brodvey?, "Forward", N. Y., 15 June 1923.
Z. HIlelson --
Ver vet gehn in idishen theater oyf brodvey?,
"Forward", N. Y., 6 July 1923.
Hillel Rogoff --
Boris thomashevsky oyf brodvey, "Forward", N.
Y., 14 September 1923.