Born in 1892 in Adamów, a town near Warsaw, Poland. His father was a leather merchant. From childhood on he sang with a cantor. Very early he left home, and as a youth he became a Yiddish actor in various itinerant troupes, where he acted under the name of "Kayzer," acting in various lover roles. In 1912 he acted in Lodz's Circus Theatre under the direction of Julius Adler and Nachum Lipovski, where he performed as the first lover, [in productions] including the European operetta, "Robert and Bertram" (translated by Zalmen Zylbercweig). Later he went over to other troupes, was taken into the Russian Army as a soldier, and  -- according to the information provided by Julius Adler -- fled with a false passport to Berlin. During the October Revolution he returned to Central Russia and became a commissar over several troupes, then a regisseur in Kiev's "Kunst-vinkl (Artist Corner)." Later, as a comic, he toured for several years with Clara Young, then he became a theatre entrepreneur. In 1927 he acted with Julius Adler (in "Othello") in the role of "Iago" in Homel. He received an invitation to act in Buenos Aires, and on the way there was in Riga, where he in April 1929 performed in Sholem Aleichem's "Stempenyu," then staged "200,000," soon thereafter, guest-starring in Kovne, Lita (Kovno, Lithuania), where he also performed in the operetta, "La Bayadère." In September 1929 he opened the season in Riga's New Yiddish Theatre with an

offering of a dramatization of "Beni kenig," according to Babel (about the impression and impact, see volume 2, pp. 3434-35). In November 1929 he guest-starred again in Kovne, where he staged Sholem Aleichem's "200,000," and "Kuni Lemel" by Abraham Goldfaden (acting in the role of "R' Pinchasl.")

Kitt, in Riga's "Frimorgn," writes:

" ... The staging and the director knew how to use it, and "Kuni Lemel" came out polished, stylized, and modern dramatized. But at the same time, he did not forget the typical naiveté, popularity and uniqueness of Goldfaden's "Kuni Lemel." Actually, one should talk about such a spectacle mainly about the performance and direction, because here it is not important whether this or that actor felt better or worse. The main thing is how much play harmony there is in the playing, singing, music, sets, lighting effects, dances, scenic inventions, rhythmic movements, and this, one can say, was given in full measure.

"The sets are interesting and well thought out. The general frame is whatever the performance is for the entire time, using the old Jewish ornament, the "title pages" of "Kuni Lemel," with the orthography, which serves as a curtain from image to image, the angular impression on a house of R' Pinchasl and at the matchmaker's, the well-used perspective of the garden -- all this really created the artistic space and frame for the performance. Also the stylized costumes, with very few exceptions, were thought out with great taste and in accordance with the intentions of the spectacle. The decorator Mikhail Yo has shown that he is moving forward and with success.

Menachem Rubin, who forged the entire production, and in stylized theatricality, brought in a lot of life and humor with his R' Pinchasl. He gave a grotesque figure of a fanatic, a foolish Tkif, already a little too stupid, but don't forget for a second his theatrical goals and means, which he deepened with a series of stage tricks and ideas. He was the living force on the scene."

Y. Yefimov in "Sevodnya (Segodnya)" writes:

"M. Rubin, who tirelessly searches for material for his theatrical plans, has seriously renewed the bright colors of Goldfaden's humor, and together with Mikhail Yo, dressed up the play in a bright joy. ... Also there is M. Rubin, the actor, to thank for the success of the production. R' Pinchasl is played with such lightness, with such a carefree playfulness, just as if he had not been born in the stifling atmosphere of "Cherta Asiedlasti" (Techum HaMoshav), but under the blue skies of Italy. How much good-natured humor in his quarrels with his wife."

On 14 January 1930, Rubin staged "200,000," in Latvian, in Riga's Latvia State Theatre, with Amatan Bredit as "Shimele Soroker."

In September 1930, Rubin staged in Warsaw's Novoshtshi Theatre, Sholem Aleichem's "200,000," then he also put on other plays in Warsaw, among them the stylized offering of Goldfaden's "Kuni Lemel."

About his offering of Sholem Aleichem's "200,000" in Warsaw, Nachman Mayzel wrote:

"M. Rubin is not a great inventor of new things. However, he went on the road of such an inventor. He came from the Soviet Union, he had seen Meyerhold, Tairov and Becker Granovsky. M. Rubin has staged '200,000' according to Granovsky ... There are some deviations, but in general, it is formed and shaped as if by Granovsky.

M. Rubin, who follows in the footsteps of A. Granovsky in his Sholem Aleichem production, is more loyal to Sholem Aleichem. He is more firmly bound with Sholem Aleichem texts. ... M. Rubin creates his production entirely with Sholem Aleichem's stuff, but in a couple of few places he indulges in some deviations. but from the beginning, until the end, we have in the Sholem Aleichem production, his words, his quips, his puns."

Zygmunt Turkow writes:

" ... Among the regisseurs one also finds Menachem Rubin, who, after returning from Russia, provoked a sensation with his productions, which he brought with him from there. His "Groise gevins (The Big Winner)," per Sholem Aleichem, had literally taken Warsaw by storm, due to of the novelty of form, richness of equipment and glorious music."

In September 1931 Rubin arrived in America, performing at first in a concert as a singer, and staged in November 1931 "200,000" in the Rolland Theatre.

N. Buchwald broke down strongly Rubin's staging of "Tsvey hundert toyznt (200,000)":

" ... "The Big Winner" has little to gain from Rubin's performance, and even less from his playing in the main role of Shimele Soroker. The attempt to create something like that, which should have the quality of an operetta, the value of a "literary" comedy, Rubin did not give in to. Somewhere between the scenic inventions he lost Sholem Aleichem's language, and Sholem Aleichem's civic-friendly humor in "Groishe gevins" is drowned in the sticky sea of a molasses with licorice that Rubin had poured into his Shimele Soroker. In addition, Rubin introduced an unnecessary and very annoying "improvement" in the story: In the original the entire story with the big winnings is no more than a mistake. ... To Rubin the story is different. Shimele indeed received the big winnings, but a pair of swindlers cheated him of 150 thousand rubles, and this forces Shimele to once again take to tailoring.

About the newly modern scenery, "The Big Winner" also did not win any amount. The influence of modern scenery ideas is visible and -- as much as it is new, it is chic, but the purpose of theatre stylization is such that when it is treated badly, it is very bad. The sets do not give the director a good frame for scenic effects, but in the frame it is also necessary to fit a proper picture, and a picture on the stage can only be made with proper play material. The mass scenes are interesting in their planning, but when the mass scenes are performed by helter-skelter, and in a haphazard, unfamiliar way, it is not modern, not new, not stylized, but just -- bad theatre. The same, even to a greater extent, applies to the individual role players. ... As for the star, he very thoroughly, very carefully, very systematically and very quickly killed Shimele Soroker. In his acting, One feels an empty fluidity of someone who has already played his role a hundred times, and is already practiced in every smallest touch and turn. ... Rubin's Shimele has nothing to do with Rubin's new-fangled scenic experiments. The scenic side is unnecessarily contrived, with scant attention to naturalistic "truth," with scant emphasis on style and realistic characterization. Rubin's playing again is in the style of simple, sentimentally sugary "naturalness." Rubin has a pleasant voice, and he himself is a mover, and he takes to "taking the stage" easily, nimbly, with a sense of rhythm in his movements."

Dr. Mukdoni, who was very thrilled by his offering of Sholem Aleichem's "200,000" [see Sh. E. -- biography), also put out especially about his acting in the role of "Shimele Soroker":

"Menachem Rubin plays this Shimele very well, this Shimele sings and jokes constantly. ... Shimele, as Menachem Rubin plays him, is a very moving Jew. He is filled with tremendous energy. But the best thing about Rubin's painting Shimele is that he does not forget for a minute that he is a tailor and cannot pass a jacket without looking at it with a tailor's understanding. ... In general all the actors play well, and this is a very big deal for Menachem Rubin. It is evident that it is his work. You can see that he allowed everyone to do this. ... In Menachem Rubin we have a very useful theatre person."

For the 1932 season, Rubin was engaged in the Rolland Theatre as a star in the operetta, and here he staged "Der gasn-zinger (The Street Singer). After a season he went again to Europe, guest-starring in the beginning of 1933 with "200,000" in Kovno. In February 1933 he gave several performances in Warsaw, then joining the troupe "Fakt" (Zygmunt Turkow, A. Stein, Clara Segalowitz, Genya Shlitt, Abraham Morevsky), with whom he performed on 10 March 1933 in Lodz's Skala Theatre, in his translation, "Farkoyfte neshomus" (those who deal with fame), a play in five acts by M. Panieal, and F. Nyura, and he participated in the subsequent productions for the troupe in Gold's "Dr. Levy," and Kaczyne's "In Crisis." In April he staged in Warsaw's Kaminski Theatre the musical comedy "Yoshke der zinger" (music by Sholom Secunda), performing in a song concert in Lodz, and staged and acted in the main role in Warsaw's Central Theatre in Simon Wolf's melodrama, "Man, mentsh un foter."

N. M. [Mayzel] writes about this:

"Abraham Resnik (M. Rubin) has difficult experiences and comes out a winner, and the audience lives with him and expresses his pity and sympathy with hearty laughter and with loud applause in the middle of the play. Who still speaks when Menachem Rubin sings in his own artistic-dramatic way, one song and another song, then there is no limit to the enthusiasm. the play is very well staged. ... M. Rubin here has shown his skillful, directorial hand. Certainly Menachem Rubin is remembered here, who a few years ago triumphed in the Novoshtsi Theatre, with Sholem Aleichem's "200,000," in Babel's "Benya Krik [the Gangster]," and Goldfaden's "The Two Kuni Lemels," but, ... M. Rubin can move the artists and also move the audience. But from M. Rubin, we demand much more than this kind of behavior. He is able to give more."

In 1933 Rubin guest-starred in Vilna, where he staged "Der urteyl," then he went over to directing for Yiddish theatre in Krakow, directing there "200,000" and "Kuni Lemel," and in January 1934 he returned to America.

Here he joined, as a star, the Public Theatre (direction -- Roland), and staged "Dray mener un a meydl fun Idisher lesh" (music -- Joseph Rumshinsky). On 28 March 1935 Rubin was taken in as a member in the Yiddish Actors Union. He acted for several season in America, and in the summer of 1938 he went to guest-star in Argentina, where he staged "200,000," "Kuni Lemel," William Siegel's "Zayn farshpilte velt," and "Tsvey veltn" ["Kol Nidre"] by B. Winchenko.

Returning to America, Rubin acted again for the 1938-39 season in the Public Theatre, where he staged the play "Der kluger nar," then in other theatres, guest-starred across the province, and in 1944 he acted with Ben-Ami in the Folks Theatre.

In 1946-47, Rubin acted in the Yiddish Art Theatre. In October 1947 he guest-starred, together with Jennie Goldstein, in Chicago, in the play "Ir eyntsike libe."

In the years 1950-1952, Rubin went on two tours across America and Canada under the supervision of the Jewish National Worker's Union, and he performed in about sixty to seventy cities and towns and staged, outside of a great concert, also Mark Schweid's play in two acts and three scenes,, "A shtetl vakht oyf" (music -- Sholom Secunda), About this performance, Al. Harris, who participated in the tour says:

"Menachem Rubin never allowed the curtain to be raised until he himself was on the stage and supervised not only the equipment and lighting,, but even the clothing of each participant. During this [time] he straightened the collar of his shirt, while he fixed the folds of his jacket, and at the same time he used to tap the actor on the shoulder with fatherly tenderness and say: "When you go out in front of the audience, raise your voice, because the "customers" in the last rows have just as much right as the first ones to hear what you have to say. Oversatisfaction. When a person comes to the theatre, we have to give it life, bathed in light, beautified and expanded."

In 1954 Rubin guest-starred in the land of Israel.

In October 1956 he staged in New York with the Yiddish Theatre Ensemble Sholem Aleichem's "Hard to Be a Jew" and acted in the role of "David Shapiro."

[About the offering and the acting, see the impressions of Ehrenreich and Dr. Swerdlin (pp. 3395-96.)]

And about Rubin's acting in "Hard to Be a Jew" by the Yiddish Art Theatre, Dr. N. Swerdlin writes:

"That Menachem Rubin is one of our best, gifted actors, there is no need to doubt this. It is truly a pleasure to see him on the stage. This time too. Although Rubin's conception of the role of Shapiro is completely, completely different from what we are used to seeing, especially in the Maurice Schwartz conception. To Schwartz, David Shapiro came out solid, firm, as if hammered out of granite. To Rubin, Shapiro is more like Menakhem Mendl, nervous and scattered. In the first act I felt Rubin's otherness. In the second, and especially in the third act, his "Shapiro" already is authentic, firm, realistic, with more personality, which forces the viewer to think. What I mean by this is to say that Rubin's line when drawing this Shapiro portrait was in zig-zag, rather than in clear, firm, definite features."

In 1958 Rubin again guest-starred in Argentina. In March 1958 he performed under the direction of David Licht in the dramatization, "Mayn ṭaṭns bes̀-din-shṭub (In My Father's Court)," by I. Bashevis, and on 3 May 1958 he acted as "Bar Kokhba" in David Licht's adapted play according to Abraham Goldfaden, Joseph Opatoshu, David Pinski, Shlomo Rosenberg and Professor Simon Dubnow.

T. Beilin writes about his acting:

"Menachem Rubin gives a tone to Bar Kokhba. He does not exaggerate him, but presents him as the common man who was completely assimilated, was even a soldier with the Romans, and in whom his Jewish ancestry suddenly awakens, and therefore he is ready to sacrifice himself for the freedom of his people. Menachem Rubin performs the singing role with gusto. Fine is the duet with Zipora Waldman, and it is entirely correct to play Bar Kokhba with a touch of tragedy."

Returning from Argentina, Rubin joined the National Theatre, where in October 1958 he staged and directed, "Feyne mentshn (Nice People)," by L. Freiman and H. Kalmanowitz.

In the 1961-62 season, Rubin performed in the Mayfair Theatre in H. Kalmanowitz's play, "Go Fight City Hall."

Dr. N. Swerdlin writes about Rubin's recent playing on the stage in Kalmanowitz's "Go Fight City Hall":

..".In the Mayfair Theatre about eighty percent is English, the rest is already in Yiddish, and also the Yiddish is mixed with English, with the exception of the sentence spoken by Menachem Rubin ... Unforgettable is the scene when Menachem Rubin (Abraham Ginzburg) makes Kiddush during the Seder night. It is a pleasure to hear his music. I also liked how Rubin played the wise Jewish grandfather who knows this life, can untie his children and knows how to push them on the right path. In particular, it comes to expression in the second act, which is already more staged and has a lot more flavor."

On 18 June 1962 Rubin passed away in New York.

The showman Al. Harris writes:

"Menachem Rubin was the actor of a wide, massive scope; the actor, who has rooted in himself the realistic school of Russian theatre of yesteryear. For hours he did not get tired of talking and telling about his first steps on the Russian stage, where with a religious zeal it was taken care that every acting movement should be true to nature, down to the smallest detail."

And according to Harris, Rubin had told him that when he was in the Moscow Art Theatre, he acted in Andreyev's, "The Seven Who Were Hanged." The theatre used to be sprayed with a chemical liquid that evoked the smell of the damp walls in the prisons in order to bring the audience into the mood of the play, and on the observation that this was an exaggeration of realism, Rubin was confused at first:

"The entire theatre profession is built on exaggeration, on augmenting, expanding and refining the raw daily life. For example: a person has an accident. He lives through a tragedy, the man carries his grief silently and hidden. He hides his pain in his own hands, and he whispers in silence. But on the stage, when we play such a drama, even now the individual sufferings must be brought out loudly, because through the fourth open wall, there are hundreds of eyes and ears on the actor, who have paid for it so that they can see and hear the typical human agony, and this, brother, one must be exaggerating!"

In the necrology of "Yiddish Culture," it was said:

..".Across forty years he was with love and life connected with the Yiddish stage for which he had great merit. ...he played an important role in the best Yiddish theatres in America, worked in the important theatre activities. ... He was a close friend of Ikuf and participated in many of his activities, innovations and concerts. He was a human being with a serious attitude for the Yiddish word, for the Yiddish stage, and all the time let's keep the flag of the Jewish people high.

Chaim Ehrenreich characterized him as such:

"Rubin's entire personality is difficult to grasp, "to grasp with the hand," and say, "That is him." The person and artist who lives with us among us, for an entire thirty-two years. Now that he is gone, and we are trying to make a lot of sense of his life, from his achievements as an artist and as a person, we understand that Menachem Rubin was with the Yiddish theatre world, but he nevertheless was separated from it. As close as he was to a colleague, there existed among them an internal mekhitza [separating wall].

The ones who saw Rubin's very first performance in America -- in Sholem Aleichem's "200,000" in the former Rolland Theatre -- had seen for themselves a full-blooded actor, a trained singer, a disciplined and disciplining regisseur [stage director], a real plus for the Yiddish theatre. One could have expected and hoped that he would be a big win for the Yiddish stage, a positive creative force who would strongly help the dams of the Yiddish theatre. With his talent, intelligence and theatrical knowledge, he deserved it.

Although Rubin stood in the first row as an actor and regisseur, however he did not become a builder and guardian of the Yiddish theatre. His great abilities seem to have been tempered by an indolence and despondency that paralyzed his courage and his initiative.

He could play dramatic roles, but he was best in character roles, like the one where he was seen as Tevye the Milkman, which will testify to that. He had a full voice for singing. His figure, his pace, but his face did not fit as a lover-singer. ... Rubin knew the stage and knew the difference between theatre and bedlam. Rarely, however, did he get to direct a production. Despite all his compromises with the Yiddish musical theatre, people didn't trust him -- he was too "literary" for the average Yiddish theatre."

And as to Rubin as a human being, Ehrenreich writes:

"Menachem Rubin, judging from this, which his closest colleagues say [about him], was a master of imagination, a type of "Baron Munchausen." He tells such fantastical stories, with such serious certainty, and with such a tone of conviction, that his friends behind the stage, or in the Actors' Club, believed and marveled during the story. There can be no doubt that Menachem Rubin has lived out his fantasies in his acting. The stories were a compensation for the amazing reality of a Yiddish artist who comes to life.

Menachem Rubin never complained; not even to a close friend. Now that he has gone away forever, what remains after him remains a shadowy figure and a nagging resentment that we did not know him closer, more intimately, better; everyone who came in contact with him loved him. He was an honest man, a thrifter and a good man. He could reach great heights when he spreads his wings. Why he didn't spread them out, we will never know."

Dr. N. Swerdlin writes:

"Menachem Rubin was a good actor. One of our best and most intelligent. Menachem Rubin also could sing and interpret a melody and folks song. Menachem Rubin also stage directed plays, and not infrequently rushed to the pen to redo a play or to write an act or two. But he did not always succeed. A failure hurt him. Rubin had the advantage of never forgetting about tomorrow.

He belonged to the number of Yiddish actors with whom one could sit at a table and talk about literature and theatre. He read a lot and had a passion for the printed word.

Menachem Rubin knew how to work out a role to its smallest detail, even rising to the level of an artist, especially in the productions of Sholem Aleichem's works. Here he felt like a fish in water. It is not a wonder that Rubin had acquired a name with the production of Sholem Aleichem's "Dos groyse gevins (The Big Winner)."

I remember Rubin's success with his performances in Poland. As a stage director, one could have a lot of complaints about Rubin, and the Yiddish theatre critic had pointed out his defects. However, his performances and achievements were also recognized.

The past season he played in "Go Fight City Hall" in the Mayfair Theatre. Except for the premiere, he came up to the editors and assured in a long conversation that he would in no way speak the broken English and the slurred Yiddish on the stage. He will not embarrass Yiddish. He will speak the mother tongue, as it should be. Menachem Rubin kept his word. He was indeed the only Yiddish actor in the Mayfair Theatre who only speaks Yiddish.

Menachem Rubin often complained about the decline of the Yiddish theatre. More recently he also complained about his health. However, he still had artistic plans and certainly did not think that the angel of death would come so quickly and unexpectedly. ... There left the world one of our best actors, who delighted the Jewish community with his talent not only in America, but also in Argentina, Israel, and in other parts of the world, where there were still Jewish coummunities."

The theatrical man Wolf Mercur writes:

"Menachem Rubin is of the most versatile artists of the Yiddish stage, and a concertist par excellence. Give him a stage as big as a yawn and he'll turn the area into a big arena. He will paint scenes and episodes that he brings out with his voice ... He doesn't need any musical accompaniment. He alone becomes all of the instruments. .... This was at the "Literary Corner" of 'Unzer kemp.' " ... He appeared on almost one board of the small stage in two stories that he had told. In I.L, Peretz's "A din toyre mit Gott," and in Zalman Shneour's "The Nikolayev Soldier." It became clear to me that he did not study the two stories, as one studies a role. He swallowed them. They poured into his blood, and he lived through the two stories and sang them out. He portrayed everyone with such artistic authenticity that the whole audience went along with him as if hypnotized, just where Rubin wanted to lead them. The audience of the Literary Corner is not just any audience. Among the audience are also actors and writers and are at once skeptical, and at once cynical, but Rubin inspired everyone.

I have seen him, and especially in his own production of Sholem Aleichem's "200,000." His tailor was "The Big Winner" of the Yiddish theatre in America. He was the "miracle" in the role of "The Miracle of the Warsaw Ghetto" by H. Leivick, and he was the "song" in "The Song of the Dnieper" by Zalman Shneour.

The phrase: "He can read the telephone book and excite the audience" is not any theatrical lie or legend, when they mention the artist Menachem Rubin. ... I don't like to throw around the superlative, "a great artist," but Menachem Rubin is that with all his limbs and tendons, with every word and sound and breath of his mouth, with every touch and twist and turn of his body."
 

M. E. from Julius Adler.

• M. Gertz -- Rubins "Stempenyu," "Frimorgn," Riga, 8, April 1929.

• L-ka -- Tsum ern-ovnt fun m. Rubin in nayem Yidishn teater, dort, 30 April 1929.

• K. [M. Kitay] -- Ern-ovnt fun M. Rubin, dort, 3 May 1929.
  

• K. M. -- Vos hot M. Rubin oyfgeton, dort, 23 June 1929.
  

• Einmolike oysgabe fun "nayem Yidishn teater" [in Riga vegn "Kuni Lemel"].

• R.R. [Rubinstein] -- Rubin, "Idishe shtime," Kovno, 4 July 1929.
  

• A-n -- M. Rubin also zinger, dort, 8 July 1929.

• A-n -- "Bayadera" (oyfgefirt fun m. Rubin), dort, 15 July 1929.

• Kitt -- Erefenung fun fertn sezon in "nayem Yidishn teater," "Beni kenig," instsenizirung loit Babel. Rezhi -- M. Rubin, dekoratsyes -- M. Yo, "Frimorgn," Riga, 22 September 1929.
  

• M. Yo, "Frimorgn," Riga, 22 Sept. 1929.
  

• B. Zelik Mink -- Bay M. Rubin, zayne gastroln in Lita, "Idishe shtime," Kovne, 28 November 1929.
  

• H. Shik -- "200,000" fun Sholem-Aleichem in Yidishn teater (1-ter oyftrit fun m. rubin), dort, 28 Nov. 1929.

• A Foygel -- 200,000 fun Sholem-Aleichem , oyfgefirt in teater "Novoshtshi." Rezhi: Menachem Rubin, dekoratsyes: Matskevitsh, "Haynt," Warsaw, 7 Sept. 1930.

• Elchonon Zeitlin -- M. Rubin's oyftrit in "200,000 fun Sholem-Aleichem "unzer ekspres," Warsaw, 8 Sept. 1930.
  

• Nachman Mayzel -- Sholem Aleichems 200,000 in Novotshtsi teater, "Literarishe bleter," Warsaw, N' 37, 1930.

• Yakov Patt -- Simele Soroker, der groyser geviner ... "naye folks-tsaytung," Warsaw, 10 Sept. 1930.

• B. K--s -- Sholem Aleichems: 200,000. Rezhi un instsenizatsye: Menachem  Rubin. teater "Novoshtsi," "Moment," Warsaw, 14 Sept. 1930.

• Dr. Y. Wortsman -- Menachem Rubin -- An ersht-klasiker kinstler, "Brooklyn Jewish Voice," N. Y., 2 October 1931.
  

• Dr. A. Mukdoni -- Gezang un shpil" -- "Morning Journal," N. Y., 2 October 1931.

• William Edlin -- A nayer oysteytsher pun'm Yidishn folks-lid," "Tog," N. Y., 2 Oct. 1931.

• L. Fogelman -- Menachem Rubin's oyftrit in Roland teater, "Forward," N. Y., 3 Oct. 1931.

• N. Buchwald -- Sholem Aleichem's "groyse gevins" mit kunst pretenzies in bronzvil, "Morgn frayhayt," N. Y., 6 November 1931.

•  B.Y. Goldstein -- Dos iz epes andersh, "Fraye arbeter shtime," N. Y., 13 November 1931.
  

• Dr. Y. Wortsman -- Vegen ales tsu bislekh, "Brooklyn Jewish Voice," N. Y., 13 November 1931.

• L, Malakh -- Teaters, "Di prese', Buenos Aires, 25 December 1931.

• B. Y. Goldstein -- Bronzvil un Brodvey, "Fraye arbeter shtime," N. Y., 1 January 1932.

• William Edlin -- Di 2 naye opereten oyf der Ydisher bihne, "Tog," N. Y., 1 January 1932.

• Hillel Rogoff -- "Der gasen zinger" in Roland teater, "Forward," N. Y., 1 January 1932.

• N. M.  -- Menachem Rubins gastshpiln, "Literarishe bleter," Warsaw, N' 34, 1933.

• Sh. Dreyer -- "Der urteyl," "Tog," Vilna, 27 December 1933.

• Dr. L. Zhitnitsky -- Der debut fun Menachem Rubin in teater "ekselsior," "Prese," Buenos Aires, 3 April 1938.

• Shmuel Rozhansky -- Teater-retsenzies, "Da"ts," Buenos Aires, 18 April 1938.

• Dr. L. Zhitnitsky -- Teater-khranik, "Prese," Buenos Aires, 18 April 1938.

• Shmuel Rozhansky -- Teater-retsenzies, "Da"ts," Buenos Aires, 10 May 1938.

• Dr. L. Zhitnitsky -- Teater-khranik, "Prese," Buenos Aires, 10 May 1938.

• T. Beilin -- Notitsn un bamerkungen, dort, 20 May 1938.

• Shmuel Rozhansky -- "Da"ts," Buenos Aires, 22 May 1938.

• Dr. L. Zhitnitsky -- Haynt der ernovnt fun Menachem Rubin, "Prese," Buenos Aires, 14 June 1938.

• Shmuel Rozhansky -- Teater-bletlakh, "Da"ts," Buenos Aires, 14 June 1938. Notitsn in bamerkungen, "Prese," Buenos Aires, 14 June 1938.
  

• T. Beilin -- Notitsn un bamerkungen, "Prese," Buenos Aires, 17 June 1938.

• Shmuel Rozhansky -- Teater-retsenzies, "Da"ts," Buenos Aires, 18 June 1938.

• T. Beilin -- "Bar Kokhba," "Prese," Buenos Aires," 6 May 1955.

• Wolf Mercur -- Menachem Rubin, der oysteytsher fun a blat telefon, "Nyu-york vokhnblat," 31 August 1955.

• Dr. N. Swerdlin -- Baym forhang, "Daily Morning Journal," N. Y., 18 October 1956.

• [--] -- Barimte Yidisher aktor Menachem Rubin, geshtorbn, "Forward," N. Y., 20 June 1962.