In 1934 G.
guest-starred in Paris (France) with the
operetta, "Russian Love," and from there she
became engaged to Kovno (Lita), where she played
for an entire summer in the operetta, "Russian
Love." She returned to America, guest-starring
in Chicago in the operetta, "Sweet Dreams." The
reviewer Sh. Zamd writes about this:
"We have seen 'Sweet
Dreams' with Diana Goldberg, and I must say that
without Diana Goldberg there would be no cure
for sweet dreams. A true magnet on the stage. To
tell you that she is burning with enthusiasm is
somehow not enough. She is a true sambation. She
does not have any minutes on the stage, and as
small as she is, she has the big hit that
catches the audience."
The dramaturg Meyer
Schwartz, became very excited about her acting,
[so much so] that he had written for her the
operetta, "The Little Devil," and the same
review by Sh. Zamd.
He writes about her
acting in the role:
"According to my
concept, Diana Goldberg has many more talents,
than they can give [her] in one role. Diana is
the true devil. She has brought out everything
that the writer has wanted with the play, and
this is the highest reward for a writer."
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In 19944 G. played
in Brooklyn's Hopkinson Theatre in the play,
"The Queen of Broadway" by M. Duchovny, and the
theatre critic Chaim Ehrenreich writes:
"Diana Goldberg as
in herself so much talent, so much fire, that
one must say that she is indeed the 'Queen of
Broadway.' When she performs in the operetta,
'Everyone Wants to Get Married,' writes the
'Variety': 'Dina Goldberg rises above everyone
in the role of "Reyzl Dreyer." The play is Diana
Goldberg.'"
G. also
guest-starred in Argentina.
In 1948 G. continued
to guest-star in London in the operetta, "Oy, iz
dos a yingl," in a review by the English
reviewer John Mand..., it is said:
"Last Sabbath I was in the Yiddish theatre and
saw a production, 'Oy, iz dos a yingl,' and I
must add that the success was a shame on the
borrower [a chshr fardinter], because the small
Diana Goldberg, with her great talent, has [bahersht]
the production. She is a personality on the
Yiddish stage."
In 1961 G. was
engaged on the English stage as a substitute for
Molly Picon in the operetta, "Milk and Honey,"
and in the province she was a hit with the
English critics. As such the press in Akron
(Ohio) wrote: |
"The role of 'Clara'
was played by Diana Goldberg, who is one of the
beautiful figures in the play, and I have many
spiritual enjoyments in seeing Diana Goldberg."
"The Times" in
Massachusetts writes that:
"Diana Goldberg
stole the play."
"The Times" in
Florida writes:
"Diana Goldberg, the
star of 'Milk and Honey,' is one of the best
Yiddish actresses on the English stage."
After acting in the
play, G. virtually withdrew from the theatre,
but she performed in 1970 with Jacobs in New
York and in the "Bobruisk" camp.
Zalmen Zylbercweig
writes:
"Everything in her
is big: [she] has a face, the mouth and the
eyes, but at the same time her entire figure is
small. Her figure is well adapted to her
partner, the fat comic Dave Lubritsky, with whom
she has played, sung and with whom she was in a
duet with couplets, and fixed ([geman(ts)t]
the exalted dance, and so also to her other
partners, the very tall lover, Irving Grossman,
whose very interesting figure has given very
much comedy to her movements and expressions.
Her voice was
adapted to the songs, which she sang either solo
or in a duet. Her organ had highly spoken the
prose, which she had needed in her role, and ...dike
was very clear. The Yiddish language had n...
had in itself no sparks of amateurishness. As
small as she is, it is a fear of emerging
dynamite, a kind of volcano that erupts with
fire, even when it doesn't it did not break, but
...it broke. It is a danger to stand near it.
She has m..... farbregt the stage on which she
has sad as in a whirlwind."
Sh.E.
and Sh.E. from Zalmen Zylbercweig.
-
"Lexicon of
the Yiddish Theatre," Vol. 1, New York,
1931, p. 265.
