the cities and
towns, but also in the clubs of the Russian Army
and in various forms of Soviet business due to
the easier form, and thanks to the direction of
the Moscow regisseur N. M. Fordeger. The texts
came from Peretz Markish, Itsik Feffer, Leyb
Kvitko, Yosef Kotliar, Feyvl Sito, M.
Pintshevsky, Abraham Cahan and D. Krishtol.
At the end of 1932
the theatre was sent to Birobidzshan, where she
acquired the great onzen and participated
from the teyge until the Far East. (Khavarovsk,
Vladyvostok), where she served the various
nationalities. After six months, she returned
with the troupe to Kharkov.
Until 1935, the "Gezkult"
was a theatre of small forms. At the end of 1935
it changed to spectacles of comedy and satire,
and R. participated in Shkvarkin's "Dos fremde
kind", where she acted in the mian role, "Khantshe
di shadkante" in Oksenfeld's "Recruits", adapted
from Sito and Krishtol, "Marta" in Maline's
comedy "Di frume marta", "Basha" in Goldfaden's
"Kishuf makherin", and in the demand(?) of the
regisseur Kramov, she then acted i the main
roles of the "Kishuf makherin" ("Bobe yakhne"),
because, according to a pure opinion, "Komikeven",
the men when the acted in the roles and did not
come out any in any correct form. The Soviet
press called her acting in that role very good.
R. also performed in
an entire range of Sholem Aleichem plays, in
Gordin, Hirshbein, Pinski and Asch repertoire,
also in a man's role (with a beard in
Gershenson's "Hershele Ostropolier").
With the outbreak of
the Nazi war against the Soviet Union, R. left
the stage and was removed to the hospital at
collection points where she used to stage scenes
for the camp and the sick, five to six times per
day. In 1941 the theatre was evacuated to
Samarkand and then to Tashkent. Her last roles
were in Halkin's "Shpilfoygl" under the
direction of Efrayim Loyter, Turavski's "Meydlekh
zukhn zeyere heldn", under the direction of
Meyerson, a new variation of "Kishuf-makherin"
and Dobrushin's "Di shevueh".