"Miriam," which reflects on the sad lives in "Freiliche Heyzl." The "khevra-leyt" (white slave trader) did not want to air the drama and raised a rumor. Then the first struggle er mkkmk['upted with the women dealers. The struggle continued for a time in the city. The streets and the plains were damaged. Announcements and manifestations were made -- signatures were requested to demand the sanction of the anti-women dealers' project -- there were hanging posters on the houses with the caption from the Yugnt-Farayn", that "Here there is no merit for women dealers." And although these posters remained located locally for the "Yungt," and the street fight with the "yikhus" ended "without a winner and without a loser," the theatre, however,  remained clean of its bones; a "yikhus," a shund and a disgrace for a long time. ... Fannie Epstein represented Feinman (after he had left Argentina) in the artistic management. The theatre-goer -- an exclusively culturally elevated worker -- did not want to stop on the Gordin "bridge," between the old operetta and the modern drama. After all, he was happy to see Epstein in "The Kreutzer Sonata," "MIrele Efros," "Sappho," "Medea," and had then rushed over to the other side of the "bridge" to Hirshbein, Asch, Pinski, Ibsen, Mirbeau. This timespan happened so quickly, like a gallop, that it couldn't keep up with him. But Fannie Epstein moved forward wonderfully easily, powerfully and gracefully and always enthused and immersed the audience in waves of spirit through her performances in the latest repertoire, and she could neither write nor read, neither in Yiddish nor in any other language, of the (languages) she spoke so perfectly and gracefully. But once she listened to an entire play a couple of times -- her part to play (the role), it was enough to stage direct the spectacle; to get the idea across, the problem of seeing for oneself the suitable environment; to create a type, color, mood. She didn't learn the role -- She entered the role with all her senses and limbs; with her graceful language and with her artistic-feeling soul. Her room was transformed into a kind of Chasidic stable of artists, lovers and cultural activists. ... and yet she felt lonely, forlorn, and in minutes silently, deeply, heartily -- cried."

From Buenos Aires Epstein traveled to London and Paris, where she acted for a short time. Then in 1910 she arrived in Warsaw, where she debuted in "Eva" (by an anonymous author), and then in Gordin plays.

Dr. A. Mukdoni writes about her acting. ... She at first performed in a play that was called, "Eva." Here she appeared as a woman, not deep, not factory; only a woman as she herself was. Then she appeared in a series of Jacob Gordin plays. Se made superficially an entirely good impression, but in truth she was less of an actress. She possessed too little culture to be able to develop and deepen a role through intuition. It simply brought out her unique grace, her innate plasticity and her very good speech. Her mimicry was very poor, in total some facial movements, but her fine face did not need the mimicry so badly. She was mobile, flexible and elastic, but she could not control, systematize and concentrate it in the necessary moments. Her movements, soft, graceful and very feminine, were simply to show for themselves. In the role, they fit very little. It was a real pleasure to hear her speak. Her voice warm, caressing, had small cracks and breaks and precisely these cracks and breaks were the most beautiful. She did not know Yiddish in the broadest sense of the word, but here she really possessed a lot of intuition. Having very little education, she used to make no mistake in saying a word and in pronouncing a sentence gracefully, the Yiddish word used to come out of her mouth. Esther-Rokhl Kaminska was by no means a greater actress than her, but in "saying," she was as great as Esther-Rokhl. And further: " Fannie Vadya Epstein fired her entire repertoire in a short time and remained an immodest person. They engaged her in the "Elizeum" Theatre as an actress in the ongoing repertoire,, and here she was almost helpless. Then she went to the "Dos Pintele Yid" Theatre. They put her into an operetta, into an entirely small, meaningless role, and in a year's time her artistic career ended. There was a stir in the theatre circles with her rich clothes. ... But this was the wardrobe of a woman of a harem, not of an actress."

Noakh Prilutski writes about her in a series of articles in "Unzer lebn" (republished in his book "Yiddish Theatre"), Bialystok, 1921, second volume) "An actress who has not tasted the taste of the Russian persecution. The first dame of the Yiddish stage in Poland and Russia, -- this, which can be expressed with the Polish concept of "Pani." A woman who will be able to hold her own and behave in a grand salon. A Yiddish actress -- with intelligence ... A tender feminine softness and grace in every movement. A white, noble, mobile face with a pair of large, deep eyes that illuminate her whole face. A rich voice with a strong, deep, highly melodic timbre. By the way -- a Jewish temperament, literally -- quicksilver. She has a flexible, dramatic power that unites her with lyricism that flows from the deepest corners of her female heart.  Even the long melodeclamations, with which the play ("Eva") is filled, sounds brave and convincing in her mouth ." And about her playing the title role in the Grillpartzer-Gordin's "Medea," he writes: "Every virtue of the arist has been mirrored in the role, which must be the best in the repertoire. Evidently, the artist studied the piece well, deeply understood and felt its character and fate of the beautiful Medea. ... It is especially beautiful when Mrs. Epstein stretches out her hands in prayer or grief: their grace is reminiscent of Isadora Duncan."

From Warsaw Epstein traveled to Russia, where she acted for a certain time, then she was engaged in the Lodz "Groyses Theatre" (Director -- Y. Zandberg), where she played more than a season's time.

Zalmen Zylbercweig writes about this period: "Having already divided her property, she focused entirely on her rent as an actress, and even though she is a big spender, she agrees to take a clearer path only on the condition that she should not be involved in the operetta ... Her figures are so true to life that not only do they forge the viewer in the theatre, but also the actors enter into the character of their roles through her playing... Slowly, slowly, one illness after another approaches her, she is no longer able to play on the stage. ... The entire time of her illness she was abandoned by countless admirers. Only a number of actors, from time to time, visited her, and with them she used to comfort herself, that in a little while she will be out of the hospital, and she will shine on the stage again." 

On 3 February 1913 Epstein passed away in Warsaw in a cellar shtibl of her poor father, and on 26 June 1913 Itshele Isakson (from "Khasid shel emes") erected a gravestone [for her grave.]

David Frishman, who literally tore her down at her first appearance, wrote aobut her in his necrology: " ... Perhaps she was the most interesting human being whom I have ever found among Yiddish actors. No matter how important she was as an actress -- as a human being, as a magnificent example of a human being, she was a thousand times more significent ... It simply refreshed when people looked at her. A kindness and a grace emanated from her personality, which enchanted everyone. ... But she also was a wonderful actress, perhps one of the best. It is enough when I remind you of her "Chasia the Orphan" in the first act. One true cabinet play. and then after twenty roles. When not classical and Greek gestures -- but she had a nice figure, and she had good taste."

Y.M. Neiman wrote a play based on Epstein's life, "Fannie Vadi, a Romantic Play."
 
M.Epstein from Sarah Nadolsky, Jennie Kaiser, Ferdinand Shtoyb, Jacob Katzman, Lazar Freed, Max Rosenthal and H. Feinstein.

• B. Gorin -- "History of the Yiddish Theatre," Volume II, page 48.

• Zalmen Zylbercweig -- Stage Silhouettes, "Der yidisher zhurnalist," Lodz, 14 March 1919.

• Noakh Prilutski -- "Yiddish Theatre," Bialystok, 1921, Voume II, pages 12-28.

• Jacob P. Adler -- "My Life," "Di naye varhayt," N.Y., 26 April., 9 May 1925.

• Zalmen Zylbercweig -- A indishe firshtin -- a idishe aktrise, "Frimorgn," Riga, 30 November 1928.

• P. Vald -- "Bletlekh," Buenos Aires, 1929, pages 103-112.

• David Fridman -- "Geshtaltn," Warsaw, 1930, pages 214-218.

• Dr. A. Mukdoni -- Zikhrones fun a yidishn teater-kritiker, "Archive," Vilna, 1930, pages 391-395.

• Eli Baruchin -- Niezwykle dzieje 2 mlodych zydowek warszawskich, "Nasz Przeglad," Warsaw, 2, 22 May 1933.

• Elihu Borukhin -- Merkvirdige geshikhte mit 2 varshever yudishe aktrises, "Unzer expres," Warsaw, 24 May 1933.