Folksbiene
“Free Yiddish People’s Stage”, “The Jewish People’s Stage”

Yakov Fishman, one of the main founders of the company, writes about its establishment:  

“The Folksbiene did not come to life and expression as a newborn child, but was first formed by members of a pair of other dramatic unions, and later took in (or was taken in by) another pair of such unions…This was in those years that the large Jewish worker’s organization, the “Arbeter Ring” [Workers Circle], began a fight for culture…In 1915, a Arbeter-Ring leader and, at that time, a member of the National Education Committee, Dovid Abrams, came to a meeting of the “Hebrew Dramatic League” and suggested that it associate itself as a branch of the Arbeter Ring and become the Arbeter Ring’s dramatic institution.

It was not easy to convince the members of the “Hebrew Dramatic League”to become a branch of the Arbeter Ring.  The greater majority feared that it would be swallowed up by the larger organization; it was even argued that it would lose its independence; that the national office would censor the plays and undertake to remove individual writers from our repertoire.

In January 1915, the match was made.  The “Hebrew Dramatic League” became Branch 555 of the Arbeter Ring and was freely took on the name Fraye Yiddish Folksbiene (Free Yiddish People’s Stage),[ not to be confused with the organization “Fraye Yidishe Folks-Bine” which was founding in 1896-1897 in New York, with the goal of working for a better Yiddish theater and fought “shund” on the Yiddish stage.  About that organization, see “Fraye Yidish Folks-Bine”.]  This was done so that members of the various actors unions, which were blended together in the HDL would not feel aggrieved, and also because, with its entrance into the Arbeter Ring, a new chapter in the history of dramatic unions in America was begun.”

Another person involved, Louis Mann, recounts:

            “...after that, when the Fire Department also closed our “Progressive Dramatic Club” on Orchard Street, we combined the remaining members of all three dramatic clubs and, under the leadership of Fishman, reorganized ourselves anew, and in order for it not to be said that they wanted the steal the name of the prior “progressives” they decided to call themselves by another name, that is: Di Fraye Yidishe Folksbiene (The Free Yiddish Folksbiene)”.

            Member Shloyme Edelhayt recounts:

            ‘...in a basement room, somewhere on East Broadway, we organized the “Free Yiddish Folksbiene”, with the same ideal and same goal as the “Progressive Dramatic Club.”  We modestly continued our literary work, and in order to strengthen that work, in order to make its existence stronger, we, the leadership group of members, decided to affiliate ourselves with the large Jewish worker’s union, Arbeter RIng, and we became Branch 555.  Under its auspices and with its help, the Free Yiddish Folksbiene was much more successful, because the large membership of the Arbeter Ring listened to us and helped strengthen the ideal of the Free Yiddish Folksbiene.

            On February 5, 1915, according to Yakov Fishman, the Free Yiddish Folksbiene was officially installed as a branch of the Arbeter Ring with a beautiful concert and program at Arlington Hall.  The speakers were: M. Yonas, the then President, and Ben-Yakir (Dr. Rozenblat), General Secretary.  Participants in the concert were the “Halevy”-choir, and the “Bine” (FYFB) performed Bagnadinung (The Good Hope?) by Herman Heijermans, Kolkhos (can’t figure out which play) by Anton Chekhov and one act from Gayster (Ghosts)  by Henrik Ibsen.

            “...Three challenging dramatic pieces had been chosen in order to show the large audience of over one thousand people who filled up the hall, representing all the New York branches, the National Executive and State committees of the Arbeter Ring, that they could be proud of their institution– and on that evening the Arbeter Ring officially proclaimed the Fraye Yidishe Folksbiene as its dramatic institution.

            “The writer of this article was then elected to be the director… it was then the Fraye Yidish Folksbiene decided to take a different turn.  Until then, it had avoided staging social dramas that had a viewpoint.  We had thought that where the writer seeked to be preach a belief or an idea from the stage, that the literary worth of the works suffered.  Now we felt that ideas could now be preached from the stage by actors.  …There must, naturally, be criteria by which a “propaganda play” could be assessed so as to see that the literary side, the hardiness and truth in the actions and the characters not be lost in the politics of the play.”

            On March 30, 1915, at Arlington Hall, Shney (Snow) by St. Pshibishevsky, translated by Shakhna Epshtein, and Gest (Guests) by St. Pshibishevsky, translated by A. Frumkin, were presented, which had previously been presented by the Progresiv Dramatik Klub (Progressive Dramatic Club).

            On April 5, 1915, Ibsen’s Folks-Faynt (An Enemy of the People) translated by Sh. Yanovsky, was presented.

            “...We chose – adds  I. Fishman–  Henrik Ibsen’s Folks-Faynt (An Enemy of the People) as our first project.  We prepared for many months, rehearsed and took lessons to try to bring to life the atmosphere of the small Norwegian town and the experiences and ideas of its people …and on April 5, 1915, the play was performed in Sh. Yanovsky’s translation… The play was very well-received and was held over several times in New York, in Brooklyn and in the Bronx.  Those who wrote the history of the dramatic unions in America felt it was very irresponsible for a new amateur dramatic organization to make its first effort such a difficult 5-act drama as Folks-Faynt (An Enemy of the People).  It will now become clear that in this regard, the actors tlof the Fraye Yidish Folksbiene already possessed a lot of experience and education from the previous dramatic unions in which they acted.”

            On October 24, 1915, at Neighborhood Playhouse, Di Fayern fun Yohanesnakht (Fires of St. John), a by play by Hermann Sudermann, translated by L. Balleyzen, was performed.  It had been previously performed by the “Hebrew Actors League.”

            Yakov Fishman writes of that presentation at Neighborhood Playhouse:

            The truly artistic achievements of the Folksbiene were demonstrated one year (one season) later, when it began to give a series of performances in the small, but pretty, artistic theater Neighborhood Playhouse on Grand Street.  The small theater was built by two Jewish-American girls, the sisters Irene and Ellen Louison.  With their rich and strong love of theatre-arts, they built the theater not as a business, but with a rich cultural goal: to give the Jewish residents of the East Side good literary dramas (in English), concerts and ballet performances.  In those days, Philip Gelibter, a’h, was the Executive-Secretary of the Arbeter Ring…  Gelibter tried to recruit the Neighborhood Playhouse for a series of presentations. There, however, he came up against an iron wall– the wall of assimilation by the American Jewish sisters.

            They and their close relative, the Jewish-American writer Ludwig Louison, complained that Jews in America needed to assimilate and they should carry on their activity in English.  In the end, they welcomed the Fraye Folksbiene on condition that it justified its artistic merit.  So it added Gelibter’s English translation of Peretz Hirshbeyn’s Yoel (Joel) and they liked the play.  Since Yoel had previously been performed by almost the same group (The Hebrew Dramatic League), it rehearsed it anew, changed a few roles, and performed the play twice exclusively for the Louison sisters and their friends.  The performances were well received and the “FYFB” [Fraye Yidish Folksbiene] got permission to play there for four weeks, every Friday, Saturday and Sunday.  The permission was then extended.

On  October 31, 1915, at the Neighborhood Playhouse, the Folksbiene presented Fayntlekhe Veltn (Menashe) (Enemy Worlds (Menashe)), a drama in 4 acts by Ranet Roman, translated from the Romanian by A. Horowitz, which was previously performed by the Hebrew Dramatic League.

On March 19, 1916, Di Mishpokhe (The Family) by HD Nomberg, which had previously been performed by the Progressive Dramatic Club, was performed at the Manhattan Lyceum.

In the same year– according to Yakov Fishman– the Folksbiene had a nice venue at 155 Clinton Street, where it held concerts and literary evenings and– according to B. Levin– Fridays readings took place.

On February 13, 1917, at the Gebils Theater, Yakov Fishman’s dramatization ( Yiddish translation by Zalmen Reisin) in 4 acts and 3 scenes, of  F. Dostoyevsky’s Farbrekhn un Shtrof (Crime and Punishment) was performed.

Writes Y. Fishman:

“The play was very long and lasted until 1am.  This was too long and difficult, so in later performances it was redacted so that it could be performed in 3 hours.”

On September 29, 1917, again at the Neighborhood Playhouse,  the Folksbiene performed Aynzame Mentshn (Lonely People) by Gerhart Hauptmann, translated by A. Frumkin, which had previously performed by the Progressive Dramatic Club.

On October 6, 1917, in the same place, Kameradn (Comrades), a drama in 4 acts by August Strindberg, translated by L. Balleyzer, was performed.

In the same month, at the Neighborhood Playhouse, it performed, under the direction of Yakov Fishman, Balleyzer’s translation of Gerhart Hauptmann’s drama in 4 acts Mikhael Kramer (An Aynzam Lebn)(Mikhael Kramer (Lonely People).

Writes Y. Fishman about these offerings:

“All the plays were a financial and artistic success.  The plays by the Folksbiene began to get the attention of the press and discussions and criticism appeared in which the Arbeter Ring’s dramatic institution was praised for its performance.  The successes greatly encouraged the members of the Folksbiene and they threw themselves into their work with greater impetus…a strong criticism was that it performed too many plays from world-literature and not enough Yiddish.  The truth, however, was that as soon as the Folksbiene received a true literary Yiddish play, it put it on.  There was, however, a big dearth of such plays and it had to use writers from world-literature.”

That same year, the Fraye Yiddishe Folksbiene joined the “Association of the Literary-Dramatic Unions” but left it, however, in 1918 after the association – according to Yakov Fishman- dismissed the claims of representatives of the FYFB against the founding of a profession theatre-troupe, which would begin to perform in New York.

At that time B. Levin joined the Fraye Yiddishe Folksbiene, became the business manager and organized a whole range of performances in the Royale, McKinley Square, Gold and Thalia theaters as well many performances in the provinces.

At Levin’s initiative - according to Y. Fishman– the Yidishe Folksbiene Corporation was organized to raise  25 thousand dollars with the goal of establishing its own small theater.  Much effort was exerted but they could only raise several thousand dollars.  In order to expand the fund, the Davenport Theater (New York, 27th Street) was used but the repertory performances, instead of increasing the fund, swallowed it entirely. 

Levin himself writes about this:

“We founded a cooperative and took action to raise money for a people’s-theatre.  Our own members raised several thousand dollars and we hoped to raise enough money that our dream would come true, but, unfortunately, this did not work out….One important detail is this:  we did not have the aid of the large Jewish organizations.  Under only our own power, such an undertaking was impossible and nothing became of the plan.”

On February 16, 1918, at the Derby Theater, it put on Alexander Zeldin’s drama in 4 acts Man un Vayb (Husband and WIfe).

On October 5, 1918, it put on Peretz Hirshbein's Grine Felder (Green Fields) at the Verdi Theater, directed by Yakov Fishman.

The play was a big success.  The company became popular and began to plan to perform more often.

On September 26, 1919, Furhman Henschel by Gerhardt Hauptmann was performed.

“During that summer [1919] – describes Boris Levin– we worked on plans so that at the beginning of the winter we would be able to perform at least once a week, and we rented the Thalia Theater, and on September 26, 1919, we began Furhman Henschel.  I remember, that on that day the weather was very bad and we were all scared of a failure, but to our great amazement, the box office took in more than 300 dollars and we were able to perform the next week.  In the same week, we also played in Brownsville and a week later, in the Bronx, always playing to a large audience which enthusiastically enjoyed both the play and the actors.  That is how we performed several weeks with success.

…At that time, Shnitzer’s “Gorden Theater” already existed [New Yiddish Theater, directed by Jacob Ben-Ami], and Maurice Schwartz had founded the Art Theater.  We performed good literary plays at the Gorden Theater and performed them well.  Schwartz did not yet have a specific style.  One could notice that Maurice Schwartz was seeking something,-- seeking a path.  And Schwartz at that time surely thought about better dramas  (Schwartz already had, in season 1918-1919, produced a better repertoire), because the Gordon Theater had a good reputation, and we presented literary plays, the audience came.”

On May 19, 1920, the Yidish Folksbiene was supposed to open a month of guest performances at the Irving Place Theater and in connection, on April 15, 1920, an article appeared in “Tog” which said:

“... it should not be forgotten that this repertoire (Hirshbeyn’s Grine Felder, Zuderman’s Fayern Fun Yohanesnakht, Dostoyevsky’s Farbrekhn un Shtrof, Hauptman’s Mikhayel Kramer, Strindberg’s Komeratn, and a list of other plays) was presented by the Folksbiene a lot earlier than when the Irving Place Theater opened with its literary “shtik”.  In the history of the literary repertoire in Yiddish theatre, the Folksbiene belongs in first place. Furthermore, what the Irving Place Theatre presented, such as both of Hirshbein’s comedies, were first done by the Folksbiene.  The aim of the Folksbiene is: to build its own people’s theater in the style of the Neighborhood Playhouse, in order to present there the newest and nicest pieces  from Yiddish and world literatures.  It is very important for the professional theater that such a small artistic people’s-theatre exist.  Just as the work of the Folksbiene contributed to the existence of the Irving Place Theater and the Gordon Theater, which is opening this coming season with a season with clean-artistic purpose, so can a permanent folk-theater, maintained by its admirers, further create a repertoire and put on such works that the professional theater can not and is scared to take on.  It is therefore in the interest of both the audience as well as the professional theatre, that the short season of the Folksbiene at the Irving Place Theater have great material success in its mission to build its own little theater.”

The plan to do guest performances was, however, not to bear fruit, because of difficulties with the theater management.

But the Folksbiene was not demorallized:  at the Thalia Theater it performed Brie’s Bashedikte (The Possessed), Shma Yisroel (Hear, O Israel) by Osip Dymov, Hunger, by Semion Yushkevitsh and Dos Kol fun di Shtume (Voice of the Mute) by Izak Horowitz.

On September 21, 1921, at the Lipzin Theatee, directed by Yakov FIshman, Karikaturn (Caricatures) by Itzhak Katzenelson was performed, and in February 1922, at the Greenwich Village Theater, we presented F. Bimko’s Farzunkene Veltn (Sunken Worlds)”.

“In 1922-1923, the Folksbiene was busy– writes Y. Fishman– preparing one-acts and stagings for the big Arbeter Ring Campaign-Concerts, which were, at the time, organized in five parts of New York City in big halls.  The concerts were free to members of the Arbeter Ring and were attended by a thousand to two thousand people.  The presentations were very successful and took place for five years”.

On March 10, 1923, at the Royal Union Theater, Di Farloyrene Hofnung (The Good Hope) by Herman Heijermans, directed by Yakov Fishman, was performed.  All the members of the Folksbiene took part in the play, assisted by the Arbeter Ring Chorus which sang the Fisher-Lider (Fishermen-Songs), which were specially written and taught ably by its composer and the chorus director, Meyer Pozner.

Abraham Reyzen writes about the performance:

“The piece was very well-performed, and, perhaps, more than good, taking into consideration that the Yiddish Folksbiene is an amateur troupe, though some of them, Sonia Birman, Yakov Fishman, Etl Rozentsvayg and Harold Rubin, fully and surely could have (and should) perform as professional actors on the Yiddish stage… In general, the Folksbiene showed in its performans of Heijermans’ Di Farloyrene Hofnung  that it not only has the right to exist, but that it deserves to be supported by all lovers of Yiddish theatre in general and and from the professional theater-world in particular.”

“At the same time that the Fraye Yidishe Folksbiene prepared plays and one-acts for New York– writes Yakov Fishman– it also took on the task of hosting performances in provincial-towns in New York, Pennsylvania, New Jersey, and Connecticut.  The performances were arranged by organizations in the various towns, Arbeter Ring branches, A.R. schools, labor lyceums, Socialist Farband branches, and other workers’ organizations.  A great many plays in the Folksbiene’s repertoire could not be staged in the provinces, once due to technical difficulties– such as the large number of personnel, difficult sets, and some of the plays were generally too difficult for the provinces.  However, the demand for performances in the provincial-towns was great and in certain towns we gave 6 to 8 performances of plays we learned every winter- Yakov Gordon’s Kreutzer Sonata, Di Emese Kraft (The True Power)and  Di Shkhite (The Slaughter).  There was a great demand for Gordon’s plays and we had to satisfy the townspeople. All in all, there were 58 performances in the provincial-towns in which we performed 16 plays.”

“In 1925” - writes again Y. Fishman– “a new epoch began for the Folksbiene.  I will call this the epoch of “professional directors.”  More than ten years had already passed since the founding of the Folksbiene.  There were successes of note as well as failures.  Not every show and presentation succeeded.  Of the significant number of plays that were put on, there were a few failures… while our theater-critics were stingy with love songs to us when a play was done well, they weren’t frugal in words to take us down when there was a bad performance…They did not do this to professional theater performances, with big financial exposure, and they were more careful with them.  With amateurs there is no standing on ceremony.  It is understandable that this impacted the members and it was then decided to hire a professional director, one who could give the members more as a teacher and director, and perhaps really someone whose name could have an effect on the public and the theatre-world”.

At that time, the actor Leonid Sniegov was hired as the director.  This was encouraging to the members and quite a few new members joined.  The costs became greater, and every member had to pay dues of a dollar a week.  Also, the Education-committee of the A.R. granted a special subsidy.  Sniegov worked up a shortened form the comedy Shmeterlingen  [Shmeterlinger-Shlakht] (Butterflies [Battle of the Butterflies] by Hermann Sudermann, which was performed at the Arbeter Ring Campaign-Concerts, and on March 25, 1925, under his direction at the Yiddish Art Theater, Semion Yushkevitsh’s Misere, a drama in 6 scenes, was performed.  The critics’ reaction was good.

In December 1925, Mendl Elkin was hired as director and presented the one-act Der Clown by Kuprin and Leyviks’ drama Bankrot (Bankrupt), which was performed only in the provinces.

In 1926, the veteran member of the Folksbiene, Samuel Grosberg, took over the direction who presented the one-acts Hercules by Bell, Dos Misfarshtendenish (The Misunderstanding) by L.V and A Retsept Kegn Shvigers (A Recipe Against Mothers-in-Law)by Manuel John Diana [All three translated by Z. Zylberzweig].

In 1928, Yakov Fishman once again became the director in order to take on the “Arbeter Ring Evenings”, which for 10 years had become an important part of the work of the Education-committee of the Arbeter RIng.  The plan was worked out by the writer Y. Krepliak, who had for a long time led the “Evenings” and was their chairman.  

During that first winter, 7 writers-Evenings were presented at the Rend School:            Mendele (from which scenes from Fishke der Krumer (Fishke the Lame) were performed), Y.L. Peretz (S’Brent (It’s Burning) and Nokh Kvure (After Burial), Sholem Aleichem (Mentshn (People)), Sholem Asch (Mitn Shtrom (Midstream)), Avrom Reisen (In a Kabaret (In a Cabaret) and Dem Shadkhn’s Tokhter (The Matchmaker’s Daughter)), Dovid Pinski (Dos Meydl baym Orn Koydesh (The Girl by the Holy Ark) and Gliksfargesene (Forgotten Luck)) and Z. Libin (Kolegn (Friends) and Marta).

The first series was very successful; the hall was overcrowded.

In 1929-1930, under the direction of Bena Schneider, writers-evenings were presented: Morris Vintshevsky (Der Letster Nabor (The Last Recruitment)), Avrom Liesin (Rebe Akiva, Rabbi Avika), H.D. Nomberg (an act from Di Mishpokhe, (The Family)), Dovid Eyhorn (Aliles Dam (Blood Libel)), Perets Hirshbein (Aynzame Veltn (Lonely Worlds)) and Morris Rosenfeld (In Shop (In the Factory)).

In 1931-1933, under the direction of Leyb Kadison, writers-evenings were presented:  A. Veyter (Fartog (Dawn)), Z. Segalovitsh (Di Vant (The Wall)), Leon Kobrin (scenes from Di Sonim (The Enemies)), Anski (Foter un Zun (Father and Son)), Jean Rose (Hinter Kulisn (Behind the Scenes)), Z. Levin (Dem Tatns Tokhter (The Father’s Daughter)), Upton Sinclair (Der Farbrekher (The Criminal?-- could not find matching title), Perets Hirshbein (Eliohu Hanovi (Elijah the Prophet)), Maxim Gorky (an act from In Opgrunt (The Lower Depths), Arthur Schnitzler (scene from A Shpil in Libe (The Comedy of Seduction)), Yakov Gordin (Voylteter (Philantropists) fun der East Side), Eugene O’Neill (scene from Di Horike Malpe (The Hairy Ape)) and from Sinclair Lewis (En Vikers (Ann Vickers)).   Dramatizations by Sh. Frug (Shmoynevker Geshtaltn (Foolish Figures???), Kh.N. Bialik (Fun Tsar un Tsorn (Of Worry and Wrath)) and Y. Opatoshu (In a Tey-Hoyz (In a Teahouse)).

Also, under the direction of L. Kadison, Khana [Khone?] Gottesfeld’s comedy Punkt Farkert (Just the Opposite)was presented as well as, in the same season, Sholem Aleichem’s Shver tsu Zayn a Yid (Hard to Be a Jew).

On December 28, 1933, at the Second Avenue Theater and under the direction of Nokhem Tsamakh, H. Leivik’s Heldishe Yorn (Hirsh Lekert) (Heroic Years (Hirsh Lekert))was presented.

Dr. Mukdoni writes of that production:

“Nokhem Tsamakh had amateurs to work with and he reached the maximum.  I have never heard amateurs speak so clearly, so bitingly, that not one word was lost.  A second assignment of his was to bring out the characters as much as possible…  Nokhem Tsamakh… also managed to put on a show.  He, in truth, neglected, because of lack of time, to present an entire show… He did what he could do with said drama…I saw the Folksbiene several times, and what I saw in Hirsh Lekert astonishing.”

In 1934, the well-known director Dovid Herman came to America and was promptly engaged by the Folksbiene, with which he, in January 1935 at Washington Irving High School and a half-year later at the Second Avenue Theatre, presented a fragment of Y.L. Perets’ Baynakht Oyfn Altn Mark (A Night in the Old Marketplace).

[For reviews and comments about the performances of L. Fogelman, Yakov Kirshenboym and Y. Fishman, see “Lexicon of Yiddish Theatre, 3rd volume, 1967-1968.]

Under the direction of Dovid Herman, Writers’ Evenings were also presented:  Yakov Preger (scenes from Der Nisoyen (it’s in Niborski but I still can’t figure out what it means  SB) ), Theodore Dreiser (Dos Lebn Geyt Vayter (Life Goes On??), Dovid Bergelson (scenes from Der Toyber (The Deaf One)), Leon Foykhtvanger (Di Brider Hoferman) [Familie Openheym?] and Sherwood Henderson (Der Shvartser Gelekhter (Black Laughter)).

A revival of Hirsh Lekert [Heldishe Yorn] (Hirsh Lekert (Heroic Years)was also done which renewed interest in it by Yiddish theatre critics.

 In a longer review, Ab. Cahan remarked:

            “I attended the performance at the Second Avenue Theater and from the beginning to the end I was in a fever of dramatic interest…in retrospect, one cannot help but give the performance compliments.”

And Willian Edlin wrote:

            “The members of the Folksbiene, with their care for their roles, showed a great deal of intelligence and understanding.  They all appeared to know how they were supposed to perform…At the performance one didn’t realize that they were amateurs who in life were workers.  Their acting was natural and moving, and for that, perhaps, the credit goes to the two directors the piece had [Nokhem Tsamakh]...and then Dovid Herman…In any case, the play Heldishe Yorn, presented by the Folksbiene, is an interesting and pleasing experiment.”

In 1935 the Folksbiene began a campaign for a Yiddish Folk Theater, which would be maintained and run by cultural leaders and cultural organizations.  First, it met with individuals and then with delegates from branches of the Arbeter Ring, Socialist Farband, Jewish National Workers Farband, trade unions and cultural organizations.  An administrative committee was voted in, in which, separately, Yosef Vainberg and Louis Mann were active.  A tidy sum was raised but because of various difficulties, the plan did not come to pass.

On April 4, 1936, under the direction of Mikhail Rozumni, the drama Provints (Provinces) by Leah Rabins was performed at the Folks-Theater.

Hillel Rogoff wrote about the presentation:

            “The players who take part are not professionals.  If that was not perceived during the presentation, that was thanks mostly to the director, Mikhail Rozumni.  It is due to him that the amateurs performed like veteran, seasoned actors.”

The play was performed three times with a big deficit

During the winter, M. Rozumni directed these dramatizations for the Writers’ Evenings:  Tsigayner (The Gypsies) by Pushkin, In di Shturemdike Teg (In the Stormy Days) by Y.Y. Singer, A Yidishe Tokhter (A Jewish Daughter) by Dovid Einhorn and Kentucky by Y.Y. Shwarts (dramatized by M. Oshervitsh).

            On March 13, in the Nora Bayes Theater, under the direction of Y. Shigorin, the three-act comedy Komediantn (Comedians) by Der Tunkeler was performed.

            The FYFB- leader Y. Fishman wrote about the play:

            “This is a very unsuccessful presentation.  The play was not funny, which one usually expects from a Folksbiene production.  The result was very meager and this was the Folksbiene’s only season not to be proud of, though both the director and the cast did everything in their power to derive something out of Komediantn. It wasn’t possible- there was simply not material with which to work.”

            Mendl Elkin was hired for the 1938-1939 season and gave himself the task of organizing a dramatic studio at the Folksbiene.  There was little interest from students.  The studio was nevertheless continued for a time with M. Elkin, Yakov Mestel, M. Osherovitsh, Yakov Fishman and Julia Levin as instructors.

            During 1938, Elkin also directed Liesin’s Levi Yitskhok Berditshever (dramatized by M. Osherovitsh), the one-act Frost Blumen (Frost Flowers) by Perets Hirshbein, and the dramatizations Kantonistn (Conscripts) by Sh. Ginzburg and Sheyne Balibatim (Petty Bourgois????)[1] [2] [3]  by Sholem Aleichem.

            In May 1939, at the Theater Institute, under the direction of Yakov Fishman, Di Kretshme (The Tavern), a drama by J. Gitsis was presented.

            On April 7, 1940, the Folksbiene celebrated its 25th anniversary at the the Barbizon Plaza Theater with Yakov Fishman’s production of Eybike Martirer (Eternal Martyrs), ghetto-tragedy in 2 acts and 11 scenes, dramatized by Yikir Nemirover

The scenes consisted of: In Keynems Land (No Man’s Land) by Hirsh Bril and Yikir Nemirov,  A Yidishe Tokhter (A Jewish Daughter) and Dray Royte Lilyes (Three Red Lilies) by Dovid Einhorn, Der Eybiker Vanderer (The Eternal Wanderer), adapted frum Avrom Goldfaden’s Doktor Almasada (Doctor Almasada); Goles Shpanie (Spanish Exile), Der Troymer fun der Geto (The Dreamer of the Ghetto) by Israel Zangwill (in 4 scenes) and Der Eybiker Yid (The Eternal Jew) by Avrom Liesin.  The storyline between the various scenes was tied together through two symbolic images: Ezra- der Eybiker Yid (Ezra- the Eternal Jew) and Di Fremde Maria– der gevisn fun der velt (The Stranger Maria- The Conscience of the World) which also functioned as prologue and epilogue.

B. Levitin wrote of the performance:

“A show, which both with its character and its combination of actors, is a rarity in the Jewish world.”

            To the credit of the Folksbiene, it must be said straight from the beginning that regarding the acting side of the presentation, as well as that of the direction, that it is comparable to our best professional theatres.  Certain actors played their parts magnificently. Only in a few places were there any signs of amateurism.  In general, however, the various scenes were staged fluently. … The impression left by the various ghetto episodes was not entirely successful…. All these episodes had an idiosyncratic character.  The presentation was directed by Yakov Fishman, who is one of the founders of the Folksbiene.  He truly deserves a compliment for the taste and the finesse that he put into the direction and the effect of the entire production.”

            In honor of the twenty-fifth anniversary in May 1940, a book, “Twenty-Five Years Folksbiene” was published under the direction of Yakov Fishman, B. Levin and B. Stabinovitsh, which included a series of articles (from members of the Folksbiene, directors and writers) about the activites of the organization and biographies of the members. Yakov Fishman wrote the history of the Folksbiene.

            In her greeting, the General-Executive of the Arbeter Ring wrote about the role of the Folksbiene during its 25 years:

            “Your involvement in the Writers-Evenings, the campaign concerts in and around New York, your shows in the provinces and your bigger shows in New York–  all this is a beautiful chain of rings which shine with the characteristics of the chain of rings of the Arbeter Ring in general.

            Your presentation, from the start, of Hirsh Lekert and the experience of the Arbeter Ring members on those evenings still touches the hearts and thoughts of the Arbeter Ring membership, and that is just an example of you, of your good works.”

            The then president of the Arbeter Ring and Chairman of the Yiddish Actors’ Union, Rubin Guskin, expressed:

            “The Folksbiene, during its 25 years, has developed a penchant for  better Yiddish Theatre among a large number of members of the Arbeter Ring.  The Folksbiene has developed singular artists who appear at various events at branches of our organization.”

            Similarly, the Culture Director of the Arbeter Ring, N. Chanin, writes:

            “...The Folksbiene has, during its 25 years become a good example for many cities  in America, that dramatic organizations of the Arbeter Ring should be founded. … During its 25 years, the Folksbiene has directly and indirectly, influenced the better Yiddish theatre.  A whole host of Yiddish artists have been brought to the Yiddish stage through the Folksbiene.  Every appearance by the Folksbiene was an artistic contribution to Yiddish drama.

…The great number of the members of the Folksbiene exhibited a formidable love and commitment to their work.  After days of hard work, they rehearsed until late at night.  They often donated the last of their earnings in order that the Folksbiene could go on with its work.  The best Yiddish directors were associated with the Folksbiene”.

A member of the Folksbiene, Sholem Rozen, writes of the Folksbiene’s activities:

In those years [during the founding of the FYFB], very few branches knew how to organize concerts for their members, and when concerts were indeed offered, they were of a character that did not have cultural value… When the Folksbiene became a branch, our primary goal was to make the performances more pleasing.  We began to prepare people for the performances.  First, we were meticulous that the performers have talent and understand what they were reading aloud or reciting, and second, that the content of the readings should have literary and artistic value.

In the 25 years of our existence, our members have performed hundreds of concerts at the branches, and have thereby become very popular at their meetings.”

L. Kadison writes of her colleagues at the Folksbiene:

“...We were busy rehearsing three nights a week, and on the other nights we used to learn our lines or do whatever else was necessary for the production.  …At the Folksbiene, I found “veterans”, middle-aged or eldery people.  Each one had their share of worries, whether from unemployment or from family sorrows, but still they each came to rehearsals with happiness and cheer, knowing their lines like young beginners, like true amateurs.  … I had a different pleasure when the shows took place.  Though we performed in bad conditions, on small stages with little scenery and bad lighting, the dedication of the members had much to do with our success.  They brought what was necessary for the performances from their own homes.  One brought tablecloths, another curtains, and so on, until the stage was decorated and had the proper appearance.”

On April 20, 1941, at the Rand School Auditorium, under the direction of Yakov Fishman, Sambatyen, a comedy in 4 acts and 6 scenes, by Avrom Goldfaden, was performed, adapted for the stage by Y. Nemirover.

The show was performed just once and did not live to see even one review in the Yiddish press.

------------------------------------------

After lengthy deliberations, it was decided that the Folksbiene needed to embark on a new path, associate itself with a permanent director and perform more often.  The company was reorganized, with B. Levin as Chairman while, at the same time, manager of the acting ensemble.

Yakov Rothbaum was hired as the director, and on January 31, 1943, at the Malin Studio, he staged his dramatization of Uncle Moses from Sholem Asch’s novel, a drama in 2 acts (5 scenes).  The play was performed 13 times.

—-------------------------------------------------------

On February 14, 1943, at the Malin Studio, Leon Kobrin's Riverside Drive, a play in two acts, condensed and directed by Yakov Rotbaum, was staged and had ten performances.

A special page in the history of the Folksbiene is occupied by Rotbaum's staging of A Goldfaden Kholem (A Goldfaden Dream), a musical folk play in two acts and six scenes, with texts by Goldfaden, Manger, Fenster and Einbinder. This play was dramatized and staged by Yakov Rotbaum, with music by Abraham Goldfaden and Henoch Kon. It opened at the National Theatre on May 5, 1943 and was performed for the Arbeter Ring convention. Beginning  November 7 of the same year it also played at the Malin Studio. later in Philadelphia, in the Parkway Theatre in Brooklyn, and later on in the summer at the Arbeter Ring Workmen's Circle camp, for a total of eighty-seven performances. The play, the production itself, and the acting evoked a great sensation in Yiddish literary and artistic circles and in the press.

On April 1, 1944 in the Malin Studio, Di oreme melukhe (Beggars), was staged, a play in three acts by H. Leivick, directed by Yakov Rotbaum, music by Henoch Kon, sets by H. Condell. The play had nineteen performances.

On January 13, 1945, at the Malin Studio, Dos Groyse Gevins (The Lottery/The Big Winner), a folk play in three acts and four scenes by Sholem Aleichem was staged, directed by Yakov Rotbaum, songs by Moshe Broderzon, music by Henoch Kon, with sets by H.A. Condell. The play had fifty performances.

The director Dovid Licht was engaged for the 1945-46 season. He was brought in especially from Argentina, and on January 12, 1946 in the Malin Studio, Menachem Mendls Kholem (Menachem Mendl’s Dream) was staged, a musical spectacle in four parts, based on Sholem Aleichem, staged and directed by David Licht, music by Herman Ludwig, with sets by H.A. Condell.

On January 11, 1947, at the Malin Studio, In Polish oyf der Keyt (Detained in the Synagogue Ante Room) a dramatized poem in three acts by Y.L. Peretz, adapted and directed by David Licht, music by Herman Belinsky, sets by H.A. Condell, dance by Julia Levin opened.”

In conjunction with that production, the eleventh issue of Teater-heftn (Theatre Notebooks) was published, dedicated to the history of the Folksbiene up to 1946, with articles by N. Chanin, Dovid Licht and Boris Levin, edited by Zalmen Zylbercweig and Yakov Mestel,

On June 7, 1947, in the Radin Auditorium, Yehudis (Judith), a drama in two parts and six scenes by Christian Friedrich Hebbel, premiered. It was translated into Yiddish by Chaim Brakarsh, adapted and directed by David Licht, with music by Herman Ludwig, choreography by Julia Levin, and sets and costumes by H.A. Condell.  It was presented again on Sunday afternoonJune 8 for representatives of organizations and individuals who held a meeting afterwards with the aim of enabling further major works to be performed. A large sum of money was raised at that place and time. The first performance took place on October 18, 1947 in the Radin Auditorium. The season opened with Yehudis which had fifty-three performances, with a total attendance of more than ten thousand.

Dr. L. Fogelman writes:

Yehudis is, in my opinion, the most mature and important show that the Folksbiene has produced up to now."

In conjunction with the production of Yehudis, a "Folksbiene Zhurnal (Folksbiene Journal) with was published, with photos and with articles by N. Chanin, David Licht, Zalmen Zylbercweig, Louis Mann, Boris Levin, Benjamin Gebiner and H.A. Condell.

On December 13, 1947, as a farewell evening for Dovid Licht, there was staged Peretz's In Polish oyf der Keyt, was performed in which Dovid Licht played the role of Der Zindiker (The Sinner).

In 1948 Reuben Aurnou was chosen to be manager of the Folksbiene. On December 11, 1948, in the Radin Auditorium, Vos in fidele shtekt (What’s Inside a Fiddle), a drama in three acts and four scenes, was staged, based on Y..L. Peretz, adapted from Peretz's "A Toyt fun a Klezmer), A Beysakvores Nakht (A Cemetery Night), A Gilgul fun a Nign (Transformation of a Melody), Moshiakh's Tsaytn (Time of the Messiah), Der Balegole (The Coachman)," et al. It was directed by Dovid Licht, music -- Herman Ludwig, sets -- H.A. Condell. The play was performed forty times in New York, and it also had two performances in Philadelphia and Hartford.

N. Buchwald wrote of the play (according to book Fertsik Yor Folksbiene (Forty Years of the Folksbiene)):

“Dovid Licht has very neatly and with good taste combined the various elements of Peretz’s drama and stories. Vos In Fidele Shtekt by the Folksbiene is a fine, worthy, well-made, and not-badly acted show – the show as a whole makes a substantial impact and certain scenes were quite impressive.”

Chaim Ehrenreich:

“If I were to give a Pulitzer Prize for the most beautiful production, and for the best acting of the current season in the Yiddish world, I would present it to the Folksbiene, the dramatic group of the Arbeter RIng, for their current production of David Licht’s “Fidele shtekt,” adapted from I.L. Peretz. … a production that is the pride of the current season.”

An issue of the Folksbiene Zhurnal, with photos and articles, was published in conjunction with this play.

On December 17, 1949, in the Radin Auditorium, "A Mayse Mit a Prints (A Story About a Prince), a musical comedy in four acts by David Licht, based on Goldfaden-Dobrushin opened [previously performed in Argentina under the name, A Kale Vil a Prints (A Bride Wants a Prince]: director -- David Licht; music -- Misha Streitman; sets -- H.A. Condell; dance director -- Julia Levin. The play was performed on sixteen weekends along with a special performance for the delegates of the Arbeter Ring convention.

Yoel Entin, in the book Fertsik Yor Folksbiene (Forty Years of the Folksbiene) writes:

“It is a playful, droll, a magic-story, a prophesy in reverse of the tragic-beautiful birth of Yiddish theatre.  Everyone stands and moves so correctly and nicely that it is a joy to look at them.  They are not trained singers, but they sing so in tune and with such heart, that even with untrained voices one hears them gladly.  The exuberant, sweet, harmonious ensemble is enjoyable.”

Der Lebediker writes:

A Mayse Mit a Prints is perhaps Dovid Licht’s most mature and solid undertaking.  He adapted the material very well and all the details are splendidly taken care of…There is wit, humor, and satire in the story as well as, even, a point of view.”

On March 25, 1950, at Radin Auditorium, Peretz’ In Polish Oyf Der Keyt, was performed again in honor of the Folksbiene’s 35th anniversary, and a journal in the name of the Folksbiene was published, edited by Boris Levin, Mordkhe Yoheson, Chaim Zayner and B. Stabinovits.

On December 9, 1950, in Radin Auditorium, H. Leivick’s Di Khasene in Fernvald (The Wedding in Föhrenwald) was performed, directed by Dovid Licht, with music by Vladimir Heifetz and scenery by H.A. Kandel.  It ran for 16 weekends.

Dr. Yakov Shatzky writes about the play in the book Fertsik Yor Folksbiene (Forty Years of the Folksbiene):

“The ensemble of the Yiddish Folksbiene has finely portrayed the tragedy of this mitzvah to stay alive. This play is deep in stillness and still in depth.  Dovid Licht should consider this offering, with justifiable pride, his  greatest directorial achievement in America."

And Sh. Niger stated in the book Fertsik Yor Folksbiene (Forty Years of the Folksbiene):

It was quite satisfying to sit in the theatre and to see that the Folksbiene and its artistic director David Licht had successfully transported us to the poet’s wonderful world, and had created for us the spirited mood that he intended.”

On December 8, 1951, in the Radin Auditorium,  Osip Dymow's Der Zinger fun Zayn Troyer (The Singer of His Sorrow) [Yoshke Muzikant (Yoshke the Musician)], opened under the direction of Joseph Buloff, dance by Belle Didja, sets by Samuel Lev. The play was performed on sixteen Saturdays and Sundays.

On December 13, 1951, in the Radin Auditorium, under the direction and new adaptation of Vera Haken, Goldfaden's Sambatyon was staged, with music by Henoch Kon, dance by Belle Didja, and sets by Yakov Zeldin.

After this offering, according to Morris Adler, a committee was formed to create a fund of $100,000 in order to buy a separate building for the ensemble, but the plan was not realized.

In the summer of 1952, Yakov Fishman, the founder and long-time director of the Folksbiene, was unanimously elected as the permanent, honorary chairman of the theatre collective -- and Morris Adler -- as the chairman of the Folksbiene.

On December 12, 1953 in the Radin Auditorium, the play Der Kemf farn Negev (in Hebrew “בערבות הנגבֿ”)(The Battle for the Negev)  by Yigal Mosenzon in Tsvi Shtok’s Yiddish translation, was performed by members of Israel’s Habimah Theatre, directed by Avrom Ninie, sets by Harry Baum, choreography by Belle Didja.

The play was performed Saturdays and Sundays until the end of March 1954, with a special performance on May 23, 1954 for the National Fund.

Chaim Leiberman writes (according to the book Fertsik Yor Folksbiene (Forty Years Folksbiene):

“I do not know exactly who the parents of this little theatre are.  It’s clear, however, that this theater is in reality someone’s stepchild. It would have more sympathy and more support and a better chance with natural parents. And with a better chance the actors of the Folksbiene would be able to better their endeavors, better develop their talents and be better able to attract new backers and actors.”

And Sh. D. Singer writes:

“There were fewer actors this time.  It was really a stroke of luck given the smaller stage in the auditorium.  Away with massive-scenes!  And each one had an opportunity to distinguish themself on their own account.”    

On December 11, 1954, in the Radin Auditorium, Der Kenig un der Shuster (The King and the Cobbler), a musical in two acts and seven scenes by Sammy Gronemann, Yiddish version by Shmuel Tsesler, directed by Dovid Licht opened. Music -- Herman Ludwig, choreography by Belle Didja, sets by Harry Baum.

On February 12, 1955, in the Roosevelt Auditorium, the forty-year anniversary of the Folksbiene was celebrated with Dovid Licht's production and montage of prior repertoire under the name, Di Boyd (The Covered Wagon).

In conjunction with the jubilee a book was also published, Fertsik Yor Folksbiene (Forty Years Folksbiene) (New York, 1955, 207 pp.), edited by Yakov Fishman, Louis Mann and Benjamin Stabin, with articles by Yakov Fishman, Louis Mann and Benjamin Stabin, with articles and stories about the Folksbiene, the members of the ensemble, with biographies of the ensemble and a bibliography of many scenes from the productions.

In his article, 31 Yor Folksbiene (31 Years of Folksbiene), Dovid Licht writes:

“The Folksbiene is in the avant-garde of our better Yiddish theatre. As an avant-garde group, it had clear and predetermined goals and ideals for itself. The goals of the Folksbiene were, and still are, the same ones that have marked all Yiddish avant-garde theatres. ... The Yiddish avant-garde theatre was the first in the Yiddish theatre to give a proper place to the new creator -- the director. ... There are surely capable and indeed talented people there. There is a will and stubbornness to maintain and continue the work for a better social Yiddish theatre in America."

On December 10, 1955 the Folksbiene presented at the Radin Auditorium Khaloymes un Maysim (Dreams and Deeds) (Shraga-Faybush Hoylekh L’ganev) (Shraga Faybush Goes Robbing), a comedy in three acts by Isaac Sella; translated by Wolf Yunin; direction -- Zvi Barban; sets -- Harry Baum.

On December 29, 1956, in the Radin Auditorium, Di Aynzame Shif (The Lonesome Ship), a drama in three acts by Moshe Dluzkowsky was staged under the direction of Dovid Licht, with sets by Harry Baum.

The play was performed on ten weekends.

Dr. N. Sverdlin writes about the play:

" ... The ensemble has immersed itself deeply in the fate of each of the heroes. They not only acted, but also expressed themselves with the pain of the bloodied Jewish heart. ... Under Dovid Licht's direction, the Folksbiene has given a smart cultured performance."

S. Dingol writes:

" ... The play, the direction, the acting were an amazement. It was a joy to see the will and the power of a small group to give a performance that no major theatre, including the Art Theatre, would be ashamed of."

B. Shefner writes:

" ... They portrayed a multicolored gallery of living and whole characters who often forced you to forget that in front of us were actors who were furthermore not professionals. It is a sublime production."

Chaim Ehrenreich writes:

" ... To everyone who participated in the performance; the playwright, the stage director, the actor, the set designer, the person in charge of lighting --- a very deep thank you. That they successfully transformed the uncomfortable stage of the Radin Theatre, is a mystery and a revelation; they managed to conquer worlds entirely on the deck of an old broken-down ship; they managed to keep us -- the tired and exhausted New York spectator -- excited from the very first second until the last."

Abraham Yudin remarks:

This is a play that delves into the viewer to the deepest depths. ... The drama cries out with a mighty wrath and protest, with fierce anger and protest against those who mean to forget what the Nazi beasts have done to six million Jews. ... It cannot be said that the play is entirely free of flaws. ...There is a little too much speech and some things go on too long. More editing would not hurt."

And Joel Entin writes:

" ... As for the directing itself, it is excellent; almost all the actors and actresses performed well, full of character, sincerely, convincingly -- for themselves and for the audience."

On November 30, 1957, in the Radin Auditorium, under the direction and dramatization of David Licht, Mayn Tatns Beys Din Shtub (In My Father’s Court) by I.I. Bashevis, opened and played for fourteen weekends.

Leon Kristol writes of the production:

" ... It has been many, many years since our stage has seen such genuine Jewish people, and that such truly brilliant dialogue has been heard.

... In addition, for many, many years now, there has not been a performance on our stage, which has had such a successful combination of almost classical content and modern form as this presentation, which Dovid Licht has accomplished with the modest, but quite extraordinary troupe of the Folksbiene, and with the smallest of technical means that can be imagined."

Dr. L. Fogelman writes:

" ... Naturally, in his dramatization, Licht could not include all the images and types of people that Bashevis painted in his remarkable book ... But in general, all the scenes and images of the two acts are very coherent and bound together, and Licht deserves full recognition both for his dramatization and for his well-thought-out production, which reveals to us his talent and his creative imagination as a director. This acting of the troupe is quite good. It is an exceptional ensemble of actors who together create a needed harmony."

Elihu Shulman remarks:

" ... Dovid Licht's production is not of one style. It possesses both realism, as well as a little modernism, as well as the grotesque. The actors speak in various dialects…. The production ... is generally a serious one. The acting is very good. All of the participants are serious about their work ... The production affords many pleasures. The Arbeter Ring is to be praised for supporting the Folksbiene, as well as for the accolades of the Folksbiene’s idealistic work."

Sh. D. Singer writes:

" ... It is a production that makes us think of the Yiddish Art Theatre ... in the twenties. The good director, the honest acting of the Folksbiene-troupe raises hope that it is not too late to do something, to bring back to life the creative Yiddish word on the Yiddish stage."

And Chaim Ehrenreich writes after a revival of the production:

" ... Nevertheless, it is not a drama in the sense of the word. It does not possess dramatic mood and does not possess violent conflict– not in its growth and development of characters– and yet it keeps the viewer fixed to his place and his eyes fixed on the stage. And yet the audience member leaves the theatre nourished and satisfied. ... The secret lies in the truth of the piece, in the profound sincerity with which Bashevis portrays the lives of the people. ... And the actors have exhibited their sincerity and love for the author. The stage director Licht has merged two elements into one harmonious whole, and there is a well-kept, well-rounded production that is rarely seen on the Yiddish stage."

—---------

THE ACTING ENSEMBLE OF THE FOLKSBIENE (FROM 1915 TO 1955)

Yehudis Abarbanel, Esther Adler, Morris Adler, Rifke Adler, Dvoyre Oyerbakh, Pauline Ayzner, N. Ayzenberg, Freyde Itskovits, Jenni Aleksandrov, Eli Arnau, Ruven Arnau, Meyer Arkin[4] , Pauline Bodner, Isidor Buzet, Sonia Birman, Lilian Blum-Kandel, Ana Bek, Arvom Berger, Betty Berger, Sore Berman, Ana Bromberg, Lyuba Goyrber, Mindl Goyrner, Morris Glukis, Ana Ginzburg, Samuel Ginzburg, Yulia Grinshpan, Etel Janus, Klara Daytshman, Moyshe Dervin, Ahron Holts, Yakov Holts, Meyer Harbanov, Y. Horn, Frida Himelsheyn, Sore Herison, Harry Volinetz, Yosef Volfson, Pola Vitman, H. Viner, Leye Vendorf, William Benen, Efrayim Zaltsberg, Sydney Zaydner, Chaim Zayner, Dania Zayner, Miriam Zilberfarb, Yehushe Zeldis, A. Raykh, Yosk Teplitsky, Ben Tshekhonov, Adela Lamden, Leon Lonsheyn, Mikhl Luks, Mad. Liberman, Khane Levin, Ronald Levin, M. Malinovsky, Louis Mann, Shirley Morris, F. Marks, Annie Marcus, Rose Miler, Yakov Mintz, Tsilie Mesner, Mendl Nashkush, Fanny Nun, Bronia Neuman, Max Nayditsh, Chaim Neter, Sol Sverdlin, Sore Steybin, Lou Sigal, Sonia Sierz, Bashe Slobodkin, Yeta Peker, Leyb Pshepiurko, Erica Fadan, Lou Fiuri, Borukh Faybelovitsh, Irving Filips, Ester Finger, Ester Field, Yakov Fishman, Leye Feldrayz, Khane Forshteyn, Lazar Fridberg, Taybele Freyman, Rose Kaufman, Arno Kashdan, Bessie Kasarova, Morris Kats, Dora Kahsinski, Sore Kindman, Binyumin Kesler, Harry Kessler, Roze Kraun, Samuel Kris, Binyumin Kremer, Sholem Rozen, Yakov Rozenblum, Fanny Rozenblum, Benny Rozentsvayg, Edith Rat, L. Rapaport, Sonia Rashkovsky, Hirsh Rubin, Rose Redman, Y. Reznik, Pola Reznik, Philip Reznik, Efraim Shapiro, Leon Shapiro, Mendl Shvarts, Y. Shukhman, Mordkhe Shtral, Leye Shlesel, Meyer Shrayber.

Since then, the following members have died:

Max Oringer, Fania Oringer, Max Balski, Lou Bek, Eyde Garber, Samuel Grosberg, Samuel Daneson, Moyshe Dervin, Chaim Zeyner, M. Yankov, Bina Silverman, Beynush Steybin, Mikhl Predmest, Yakov Rozenblum, Etl Rozentsvayg, Francis Rubinshteyn, Yakov Shlesl, H. Kandel.

The following members joined in 1956-1958;

Nokhem Erlich, Berele Pintshuk, Tsipora Shpayzman, Louis Fishberg, Michael Karlon (a professional English actor who, because of his youth, joined for the play Mayn Tatns Beys-Din Shtub (In My Father’s Court)), Anna Faust, Yakov Bielogorsku, Mina Kern, Harry Freyfeld, Yosef Zilberberg un Khane Tarle.

M.E. from Jacob Fishman and B. Levin, and Sh.E. from Benjamin Kremer.