On 14 January 1895 the troupe of Kalman Juvelier
performed in Bucharest, "Eliahu hanovi, oder, Aristobulus
melekh yehuda, a historical operetta in five acts and
one prologue, in written rhymes."
We bring here (rewritten by
Y. Kara) the complete, anonymous review in Bucharest's "Folksblat,"
changing the orthography, and with short remarks about
certain German publications:
"On the 14th and 15th of
January [this year], this piece was premiered on the
Yiddish stage by the 'Juvelier' troupe, and in spite of
the fact that we see no great admiration for the Yiddish
theatres as the reason we saw this cause, we must repeat
the fact that this piece is interesting enough. It can
be one of the best-regarded words ever published by
Although judging by the
title, it is believed in the first paragraph there is
one anachronism. "(Elijah the Prophet, or King
Aristobulus [of the Jews])," immediately falls into
one's impossibility, since from the first to the second
is a four hundred year difference. First of all, the
matter also becomes clear that Elijah is a phenomenon of
heaven, which the task of the king Aristobulus of his
wickedness to bring down, and to prevent the Jewish
people of Petersburg to bevarn (gehitn).
After the passage of this piece, this mission is not
However, the young author, who still has no thorough
experience and ripe stage knowledge, must make some
mistakes. Then our criticism is long overdue and we have
no place here. Perhaps we will return to another number
here. For now, however, we must add that the young
author has talent, and for the first time suggested that
it is possible to put our own story into one better
grasp and one purer language writing, and when the
handling of this piece still manages to wish ibrik
what is still necessary, that he at least give us the
hope of expecting better things from him later.
Speaking again of the
performance of this piece does not allow us the room.
The performers have made every effort to fulfill their
duty. Mr. Juvelier, who has the difficult role of
Aristobulus, is very good. His wife Kalich (Berta
Kalich), as the queen, had been beaten? [unibertrofn].
Her fartreflekher figure helped her a lot. Mr.
Rafalovich and Mrs. Juvelier, first as 'Na,' secondly as
Queen Shulamis, had performed their roles well. Mr.
Adler as Eliahu, as well as Messrs. Giltman, Rosenberg
and Schilling, were very good in each of their roles.
Mr. Rosenberg made us very happy with his singing. Mr.
Margolius wore one good intrigue [awk]. The lustful
couplet, however, did not suit his serious role. The
music of this piece was put together by Mr. Perlmutter,
and is very successful. The oriental songs, which are
engrossed in some motifs of the the opera, 'Aida,' they
are well adapted; the temple choir is very masterful.
The accompanist deserves every praise.
But we still did not like
the two comical drunks. One of them was not enough? When
there come a time when we no longer see any clowns in
such serious pieces? In this our public is guilty, which
loves circus pieces. But we hope it will see good taste
through good pieces. This hope entitles our Mr. Katz,
to whom we are offering a different direction to Yiddish
theatre, and the ridiculous wild plays, such as "The
Tenth Commandment" (by Goldfaden), "The Lost Soul" (by
Latayner), "Meshiekh's tsaytn (The Arrival of the
Messiah)" (by Goldfaden), etc., and not be driven out of
In a later volume (112) it
is reported that Katz had completed a lebensbild, "Raykhtum
un libe (Riches and Love?)," which was played quickly in
"Zhignatsa" Hall. About that production, there is no
In May 1895 K. was reported
to be living in Bucharest, that the Yiddish theatres and
dramatic unions obtained his "plays, dramas, comedies,
Sh.E. from Y. Kara.
[--] -- Theater-kritik, "Dos
folksblat," Bucharest, N' 90, 3 February 1895.