he returned to Poland, where
he put together his own quartet under the name, "Schwartz Brothers," with
whom he toured across Russia and Poland.
In 1891 he arrived in
America, and through the Adlers was taken in by "Poole's
Theatre" for two dollars a week, but already four weeks
later he went over on "market" to the "Roumanian Opera
House," where he debuted as "Yirmeyahu" in Lateiner's
"The Destruction of Jerusalem" and had such a success
that he deeply received his first "mark."
In 1893 he became familiar
with Jacob Gordin and lost the desire to play in the
"history" plays. On 4 November 1893 R. was the first to
create the type of "Simon" in Gordin's play, "The Wild
Man," which Adler performed in the "Windsor Theatre." In
the same year, to his ernavnt, R. performed in
Gorin's one-acter, "The Deceased Artist," which
remained in his repertoire. R. then went over to the
"Thalia," where on 15 September 1894 he created the role
of "Tuvia Lurie" in Gordin's "Brothers Lurie," a role
that later was counted as one of this best roles. In
1905 R. was the first to represent the role of "Khatzkel"
in Gordin's "The Worthless (Der meturef)," and in 1906
he was the first to play the role of "Rabbi Meyer" in
Gordin's "Elisha ben Abuyah."
In the span of fifteen years
R. acted with the greats of those times, such as Adler,
Thomashefsky, Lipzin, and used to dublirt in the
Gordin repertoire with Adler and Kessler and act as a
partner with Morris Morrison in the role of "Franz
Moore" in Schiller's "The Robbers," and "Iago" in
In 1905 he was the director
of the "Orpheum Theatre" in New York on 125th Street.
In the necrology of the
"Morning Journal" it is said:
"Here he had many radiant
years and held a prominent place in the theatre. He
became the star of the weekdays. Later he went away to
the province, where he became the main actor and
regisseur. By himself, he put on plays by Moshe Richter,
Z. Kornblith and Z. Libin. Several years back he,
together with other actors, took a theatre in Harlem and
there staged Richter's drama 'Mendel the Martyr,' then
'Too Late,' 'The Last Jew' by Z. Kornblith and other
Between 1911 and 1913 R.
toured across America, together with Keni Lipzin with
his own troupe.
Maurice Schwartz, who at the
beginning of his career looked with great Derekh
Eretz and admiration for R. as an actor, who greatly
changed his mind when he saw him years later acting in
"I had looked on Rothstein
who I had admired from the gallery in the play, 'Perele
Lost in New York.' With so much joy and enthusiasm I had
applauded him. After I lost my faith in him, because he
was only an actor. He had played theatre in his real
life, as he did on stage. He was the same person in
Marcus' Cafe, as he was on the stage of the Grand
Theatre. Now when I have seen him as he carried forward,
with the gekestlter kamzel (vest), with
the diamond on his finger, with the continuous shaking,
and singing every word, which he spoke out, I was even
more disappointed in him, an aktorshtshik ...
a kunst-maker. I myself have wondered how the
audience had patience to see such tshutshela, an
ongeshroyfte machine, from which es treyslen
ikh aroys mshunhdike tener."
In 1914 R. went to
guest-star in Europe, acted in London, Warsaw, Lodz,
Odessa and in Lemberg, where he became caught up in the
First World War and beset with great hardship, he turned
around and returned home to America.
In the necrology of the
"Morning Journal," there is further written that:
"In 1914 he traveled to
Warsaw and played with great success, "Uriel Acosta" by
Gutzkow and, "Too Late," by Moshe Richter, and when the
war broke out, he returned and since then had the luck
of it, to opgevendet, and he withdrew from the
theatre. During the last years he has not acted, unless
there was a benefit production for him. In theatre
circles Rothstein was known as an elegant "gentleman."
He used to continually dress in an English style and
sought to make a good impression both with his clothing,
as with his manners."
The information about his
non-play voice is not exactly known, because in the
1916-17 season R. played with Max Gabel. In 1918 he had
tried to get away from theatre acting and entered into
business, but soon he became nostalgic for the boards of
the stage, and in 1925 he began to act in the "Irving
Place Theatre" (with Ludwig Satz). In 1926 he acted with
the Hollander troupe in Toronto, Canada.
In the summer of 1932 he
played in his benefit in Gordin's one-acter, "The
Deceased Actor," which was his last performance on the
On 14 February 1932 R.
passed away in New York and was brought to his eternal
rest in Washington Cemetery [Brooklyn, New York.]
About R., he handled very
many courses, especially about his huge guzmaus.
The characteristics about his fur, which he used to wear
during wintertime, it was always said that the fur pelt
served him in summer and winter. In the summer krikh
oys the hair, and it became a light jacket, and in
the winter the hair grew back on the pelt. Also no less
were his hyperbole about his successes, although they
were numerous and significant. With his external
constantly nice attitude and his exceptional breeder's
dress, he had evoked for himself a great Derekh Eretz.
"History of Yiddish Theatre," Vol. II, pp. 126,
Necrology in the
"Morning Journal," New York, 15 February 1932.
Schwartz-- Morris shvartz dertselt, "Forward,"
L. A., 28 Feb., 24 June 1941.