From Poland, the troupe
"went" to Russia, but as such they hadn't a permit to
act anywhere, and Ch. returned to Warsaw from where he
was summoned to Poltava in the troupe of Kaminski-Spivakovski,
later he traveled around with the folksingers Zablotski,
Kiselevski and Polevik, with the Keidanov-Goldfaden
troupe, Spivakovski and then three years in Warsaw under
Weisfeld's direction, being a regisseur there. After
acting for several months in Bendin, they were forbid to
act in Yiddish, and Ch. again became a badkhan
Later Ch. was summoned to
London by his brother, the actor Yosl, but didn't have
the possibility there to act, and he was six year with
Sigar. From London he arrived in Paris, where he acted
with Spivakovski and Fanny Vadya Epstein, then in
Belgium and Vienna. In wartime he acted for five years
in Courland (each Sunday), and later he went over to
Yiddish concerts in Prague and came from there to Paris,
where he rarely acted.
Here he began to compose
songs on known motifs, and from them about ten were
printed and excelled in the popularity of the former
Ch. also adapted Peretz's
"Monish" into a four-act play.
M. Myodovnik --
Meyne teater zikhroynes, "Der shtern", Journal,
MInsk, I, II, 1926.
Zylbercweig -- Der tate a barimter varsh.
badkhan -- der zohn a mshumd un dirizhor in
keyzerlikhen teater in moskve, "Inz. eksp.",
Warsaw, 162, 1928.
[Zylbercweig] -- Epizodn funs altn yidishn
teater, "Teat"tst", Warsaaw, 3 (10) 1929.