Picon's repertoire in
Chicago's "Douglas" Theatre, in New York's
"National" Theatre, and across the province. F.
guest-starred also twice in Cuba and several weeks
in Los Angeles in "A khazendl oyf shabes."
Sh. Roszhanski writes:
and Aaron Sternberg were still young entertainers,
young people according to their years, and young in
regard to their acting experience. They were
certainly the youngest guest performers, ever, in
the Yiddish theatre in Argentina. But when it comes
to working on the stage they were different from all
the other young entertainers… who confirm the words
'young and wild,' or 'moving around like young
goats' (not in reference to Fraydele and Sternberg).
Their story is upside
down. Instead of oversalting the meat—they don’t
salt anything. They keep their distance. Instead of
chasing away—they don’t chase anyone. Before we can
accuse them of any faults ...they own up to their
own shortcomings. Few Yiddish plays have such fine,
tidy, and lyrical musical pieces as can be found in
the comedy ‘Fraydele’s Wedding.' And as far as
singing goes, there is no better than Fraydele and
Aaron Sternberg. Fraydele appears on the stage as a
little girl, who is experiencing the first real
emotions of coming of age. She reminds us of several
of the sopranos and even more of primadonnas. She
correctly presents her songs without theatrical
mannerisms, or without trying too blatantly to
captivate the stage or the audience. She does
everything in order to come closer to the
performance, especially when it comes to the
cantorial pieces, which she sang a few. She sang
like a true female cantor, or even better like a
cantor. It was exactly as if she was standing facing
the Ark. The most striking performance was expressed
by Fraydele as the 'Yiddish Lily Pons.'
…Exaggerated expression can be like the two ends of
T. Bailin (Dr. L.
Fraydele, that’s the
little girl’s name, is the one and only. She’s
petite, a pretty girl, Fraydele. She’s tiny,
miniscule, a darling like a plant, Fraydele." Also
appearing in the operetta is H. Sternberg and they
are authentic; the true description of the guest
appearance. Fraydele should have been appearing on
her own. She is completely compatible in the wedding
scene in the operetta of the same name. …Fraydele
the guest star gives us-- knowing very well what she
possess—charm, womanly beauty with a young naïve
smile, a svelte figure and a fine counter-alto with
which she performs at times cantorial, and at other
times "English songs" that are, by the way, more
tasteful than the cantorial. The audience,
naturally, likes the cantorial offerings more. The
reason is because it is closer and more personal for
them. However, her musical, singing temperament and
sentimentality can be felt more readily in the
"English song." The operetta has one good feature,
and that there is really no starring role. All the
roles are distributed fairly. Everyone has an equal
share. It is an ensemble operetta, but the central
focus is this darling couple, played by Fraydele and
A. Sternberg. The roles are not overly large, but
the operetta allows for the guest performers to be
able to show their individuality. (for example;
Sternberg was able play without stage effects). …
Fraydele comported herself in the same manner. One
gets the impression that...there is no stage. …But
rather that we encounter her in ordinary life; a
petite gracious woman, who bears herself with
thoughtfulness with her charming smile and beauty.
Sh. Zamd wrote:
Oysher, who appeared in the "Merry Widow" as the
central figure, did not have a leading role here.
She played the role of Jewish girl with a darling
soul who could very well play the lover and sing a
lover’s song. Here she sings several songs ("Hatikvah"
was all hers) and also a pair of cantorial prayers
of which "Kol Nidre" was sung honestly. In fact it
was as if it was sung by a world-famous cantor. She
also plays in a couple of scenes as a disguised boy,
and even here she is extremely charming.
Sh. Roszanski --
Der debut fun fraydele un a. sternberg, "D'a'ts,"
Buenos Aires, 10 April 1936.
T. Beilin -- "Fraydele's
khasene," "Di prese," Buenos Aires, 11
Wolf Bressler --
Yidish teater in buenos-aires, "Di yidishe velt,"
Philadelphia, 20 November 1936.
Sh. Zamd -- "Eretz
yisroel iz mayns" in nayem doglas park
teater, "Forward," Chicago, 13 December 1946.
Oscar Ostroff --
Fraydele oysher's tokhter iz itst a groyse
tensatsie, "Forward," Province edition, 5 August
Sidney Fields --
Only Human "Daily News," N.Y., Sept. 6, 1967.