darkness would come ...
Lorke began to sing for Gimpel in the chorus, and her
father knew nothing from the start. Everything was going
well. When the "discoverer" of new talent, by himself an
excellent actor and theatre director in Galicia, Karl
Ebell saw and heard Lorke, he soon determined that the
young girl with time will be a not-average stage power.
He had her taken into his troupe. In a short time Lorke
Gliksman reached the first position in the troupe and
played every main role (as "Khasye" in "A mentsh zol men
zayn (Be a Man!)."
G. played for two seasons
with Ebell, and from Ebell Laura Gliksman was engaged
for Akselrod in Czernowitz. She quickly became very
popular and remained so with the public. the theatre
director Bernard Hart made her a partner in directing,
so that she became a theatre director, and together with
Hart directed their own troupe for six years.
In 1914 she was engaged to
Sholem Podzamce for Vienna, where she soon was the
darling of the public. With the founding of the "Free
Yiddish Folks-bine,' Laura Gliksman was engaged for this
theatre, and there it was a respectable place."
In the 1922-23 season G.
participated in the troupe of Ashkenazi, with the
guest-starring Molly Picon and Jacob Kalich, with whom
she also played in Warsaw, and in Romania and drew the
attention of the critics as a splendid actress. Then G.
played for two seasons with N. Blumental in Paris, three
seasons with breaks, in London with Joseph Kessler, and
again in Vienna in the Podzamce troupe. G. also played
in Kovno with Dr. Paul Baratov, and in London with
Simkha Postel, and everywhere had the greatest success.
G. participated in several
Yiddish films, e.g. in "Yidl mitn fidl" with Molly
Jonas Turkow in his book,
"Extinguished Stars," characterizes her this way:
"Although Laura Gliksman had
earlier played in operetta repertoire as the soubrette
-- alas, she was one of the best Yiddish soubrettes in
Europe -- she also had in serious repertoire shown that
she is a well-blessed talent. As she, however, as it
turned out on the stage, everything was filled with
life. A roaring temper that literally ignited everything
Laura Gliksman was blessed
with extraordinary virtues. She had a beautiful face; a
dark head of hair, a pair of large gray-blue eyes, which
locked and attracted you to them. She possessed much
grace. Although she was a simple woman, by and by, a
good woman and had no education, but was a proper
resident, she was quite supportive of this woman's stage
In the last years before the
Second World War she already played character roles. She
brought out deeply human, tragic tenor when it was
needed, where she scoffed at their naturalness and
immediacy, not only entertaining the public, but also
their colleagues on stage. In Toller's 'Hinkemann' ('Dos
roite gelekhter') Laura Glicksman played the mother, and
she in the small role she created was with true
Zalmen Zylbercweig, who saw
her act, remarks:
"It is rare tha any Yiddish actress,
such as Lorke Gliksman, not having any theatre school
has again and again at times confirmed the fact that the
Yiddish theatre has been able to develop and deliver such an excellent actress, who
has endured so many
distinctive, contradictory, types and characters in the
sea of Yiddish original and translated verses, but
thanks to the fact that they were naturally gifted with
an artistic talent and grace. In life alone an entirely
simple woman, although she appeared very elegant. On
stage she blushed with a stage intelligence, which was
rare to find among dozens of Jewish, more learned
actors. In life free of language, sometimes very trivial
and vulgar, but who had with her the "seventh grace,"
the stage was very preserved with the text and the
directions of regisseur. All this along with her more
than average talent, making her unforgettable to those
who saw her playing."
Jonas Turkow gives the
following portrait about her tragic end:
"When the last (World War
II) war broke out, and the Nazis took power in Vienna,
she ran away from there to Belgium. Her luck did not
hold out for her there too. The Nazis followed her...
Belgium was occupied by the murderers and Laura
Glicksman shared the fate of the majority of the Jews in
Belgium who were deported by the Nazis. She was taken
away to one of the German death-camps."
"Lexicon of the Yiddish
Theatre," New York, 1931, Vol. 1, p. 490.
Jonas Turkow --
"Extinguished Stars," Buenos Aires, 1953, Vol. II,