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Celia Adler
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Born in New
York, United
States. Her
parents were
the actors
Dina Feinman and
Jacob P.
Adler. Already
as a
six-month
old baby she
appeared on
the stage. When
she was two
years old,
she played
in
children’s
roles. At
the age of
four, she
participated
with her
father in
Gordin’s
“The Jewish
King Lear”,
playing a
role
especially
written for
her
by Gordin.
Until the
age of
fourteen she
appeared
with her
father and
mother,
playing in
children’s
roles.
She studied
in both
public and
high school,
as well
as learning
to play the
piano. Because she
outgrew
children’s
roles and
stopped
acting, she
lost the
desire for
the theatre,
even
stopping her
visits to
the
theatres,
and she
planned
to become a
teacher.
Encouraged
by M. Kalich,
with whom
she played “the young
sister” in Sudermann’s”
Heymat,” she
resumed her
acting
career as
Celia Feinman. In
1909 she
performed with
her mother
at the
London
Pavilion
Theatre, and
in 1910 she
toured with
her mother
in
Poland. When
Thomashefsky
offered her
a role at
the New York
People’s
Theatre, she
signed on as
Celia Adler
and played
with Schildkraut
in Shomer’s
“Uriel mazik”.
Subsequently,
after two
seasons with
Thomashefsky,
she skipped
one season
and then
played two
seasons at
the Arch
Street
Theatre in
Philadelphia
with Anshel
Schorr, then
one season
with Kessler
at the
Second
Avenue
Theatre,
with Ben-Ami
and Satz at
the
Irving Place,
and in
1921-22 at
the Garden
Theatre with
Maurice
Schwartz.
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In
1922-23
she
played
for half-a-season
with Anshel
Schorr in
Philadelphia,
in
1923-24
she
toured
Europe
for nine
months,
and then
she toured
the
United
States
with Satz. In
1924-25
she
directed
with S. Goldenburg
at
Philadelphia’s
Garden
Theatre,
in
1925-26
she directed
with Goldenburg
at the
Amphion
Theater
in New
York, in
1926-27
she was at the Yiddish
Art
Theatre,
in
1927-8
she toured
America,
in
1928-29
she
played
at the
Yiddish
Art
Theatre again,
and in
1929-30
she played
at the
Philadelphia
Arch
Street
Theatre.
In 1920
she
participated
in the
English-language
production
of Pinski’s
“Der oytzer”
(“The Treasure”),
as well
as
participating
with Goldenburg in a
film
called
“Abe’s
Imported
Wife”.
Specialty:
dramatic
and
young
person’s
roles.
-
Celia
Adler --
”The
Bill
Board”,
New
York, 23
October,
1920.
-
Louis
Hirsch
-- “Our
Celia”,
“American
Jewish
News”,
New
York,
p. 516.
-
A.
Frumkin
--
Children’s
roles on
the
Yiddish
stage,
"Morning
Journal",
30
November,
7
December,
1928.
-
A.
Frumkin
--
First
steps of
Adler’s
children
on
stage, “Morning
Journal”,
N.Y., 11
January,
1928.
-
Kritikus
--
Celia
Adler’s
artistic
success,
“Tseyt”,
London,
27
April,
1923.
-
Celia
Adler --
A
letter
to
the “Forward”
about
her
father’s
death, “Forward”,
12
April,
1926.
-
L.
Kessner
-- About
Celia
Adler
and
Berta
Kalich,
“Yidishen
tag”,
New
York,
1926.
-
Celia
Adler-
My best
role
“Tzine”,
"Morning
Journal”,
17
March,
1928.
-
M.
Osherowitz
--
American
born
actors
and
actresses
on the
Yiddish
stage,
“Forward”,
14
November,
1925.
-
Celia
Adler --
The
Public
and me,
“Tag”,
N.Y. 17
February
1928.
-
Jacob
Mestel --
Six
charcoal
[?]
drawings,
“Yiddish
Theatre”
,
Warsaw,
Book II,
1927, p.
196.
-
Luminus
--
Celia
Adler’s
triumph,
“Fraye arbeiter
shtime”,
8
February,
1919.
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