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Lyric Theatre
16-18 Seigel Avenue, Brooklyn, NY
This production opened on November 24, 1927.

(The Way of Every Girl)

by Isidore Lillian


The following review, written by theatre critic Hillel Rogoff for the Yiddish Forward newspaper, was first published on December 2, 1927. Here it is:

"The Way of Every Girl" is an allegorical drama, that is to say, that every person in the play presents himself [or herself], and does not represent a person, but a concept. The heroine of the play calls herself "Every Girl." She is representing not as a specific individual person, but the entire kind of "girl."

Her friends are individuals who bear the names, "Innocence," "Youth" and "Beauty." Among the other characters here are the following: "Society," "Wealth," "Poverty," "Debauchery," "Fashion," "Farbdekhn," "Drunkeness," "Law," "Love" and "Clearer Understanding."

In the play there is portrayed the tragedy of a girl who seeks wealth and pleasure, instead of love and decency. It representa how the girl falls into the hands of "Debauchery" and "Drunkenness" and "Fashion," and as such they rob her of her faitful friends, "Innocence," "Youth" "and Beauty." "Clearer Understanding" warns her not to allow herself to be seduced by the deceiver, but she does not follow [his advice] and sinks lower and lower, until she falls into the net of "crime." It is only after she has been arrested and taken into custody and imprisoned, that she realizes that she has been going the wrong way all along.

Writing an allegory is not an easy task at all. Lillian is, after all, the only Yiddish drama writer who has ventured to do so. Several years ago he wrote an allegorical play that portrayed the Jewish Diaspora, the Jewish poeople among the people of the world. Every allegory was successful. And this modern allegory is also ready. However one must remark that the modern allegory is not as original, like those, and such allegories as "every girl" has already been played, although Lillian has brought in a lot of that is new, a lot of his own, into the play.

Very interesting is that part of the play that represents the relations between Mrs. Society, Mr. Wealth and Mr. Law. Mr. Lillian has inserted the three "people" into the drama of "Every Girl" in a highly successful manner.


The play was performed quite well. Not every actor, however, was adpated to the roles that they played. Solomon Kustin, for example, was not suited for the role of "Drunkeness." He is too rich, and he looks too fresh and healthy for that role. It would also have been equal with the role of "Innocence." Young and lovely would not have been played by the same Henrietta Jacobson. She is excellent as "Innocence," but when she appears later in the other two roles, it feels like they were one in the same, a repetition.

These, however, are such disadvantages that they were probably incurable. The Yiddish theatre, unfortunately, is not so rich that they would be able to enjoy the luxuries of engaging special actors for special sorts of plays.

The main role of "Every Girl" was performed by Florence Weiss. It was the first time that we have seen the actress on the stage. The role is quite diffiuclt, and with Weiss she generally satisfies us. She's just too weak in the scenes with "Drunkenness" and "Debauchery."

Also very fine acting was had by [Morris] Krohner in is role of "Clearer Understanding." The same can be said about Mrs. [Sara] Filler in the role of "Fashion." Lillian alone plays the role of "Poverty." He makes a comic role of it. A happy pauper, and he is not bad at it. [Morris] Tuchband also puts in quite a bit of comedy, in his role of "Law."

The other roles are played by Ida Dworkin, Ida Singer, Felix Fogelnest, Isidor Klein and Louis Weiss.





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