Schilling became engaged to Lemberg, where the actor Karl Zilber was performing, who went away to America. Here, Schilling evoked special attention in the role of "Chaim Yoel" in Richter's "Hertzele Meyukhes," which was staged by the author.

Schilling became the darling of the Lemberger Jewish theatre public.

About this, the writer and playwright Israel Aszendorf writes:

"Sam Schilling was the comedian of Gimpel's theatre. As usual, one has seen in a comedian, first of all, those who have to entertain by all means, "Moshen," who does not stop for any nonsense or for any "kazhelkes" before eliciting the proper effect. I have seen Schilling act in various roles. It is enough that one should hear his voice behind the curtains, that the audience in the hall should come alive. He never exaggerated. He took on his role as a comedian with no less seriousness than a tragic actor takes on his role. ... In life, Sam Schilling was also a serious and quiet person, a person who people not only loved, but had respect for."

And the writer and playwright Benjamin Ressler writes:

"Who is the gray man with the appearance and the manners of an English lord, there at the Round Table? It is Simcha Schilling, the great Jewish comedian!

Schilling, who comes from the courts of Jewish poverty and need, who was an assistant in his youth and dragged Jewish children into the classroom. -- He is now talking with Professor Hayut [sp] and about social-economics and international politics.

The same Schilling, who makes the theatre world crack up from laughter, when he only sticks his nose out on the stage, who still sings the songs "Amkho" and tells his jokes, -- he has in private life a consuming passion to move among the highest intelligence and carries himself with so much serious dignity that people are surprised."

And the reviewer Fishl Vitkover remarks:

"It is strange and incomprehensible that Sam Schilling, not having any Yiddish education, completely ignorant of the Jewish cloister and idle life, he represented them so faithfully on stage."

From Lemberg Schilling became engaged to Vienna, then to London, where he directed in 1906, together with Frida Zibel, in the "Pavilion" Theatre. In London Schilling played one hundred times continuously  as "Chaim Yoel" in "Heshele meyukhes," also performing in character roles in the drama with Kessler, Moshkovitch and Feinman. In 1908 he directed for a season with a Yiddish theatre in Argentina (Piedros 564, Buenos Aires), then returned to Lemberg and, together with his wife Rose Brie (Schilling), were brought to guest-star in Warsaw for Rappel, but remained in the troupe and continued there for Latayner's "The Jewish Heart," where he performed in the play ninety-three times to overpacked houses.

David Frishman characterizes as such his playing:

"Herr Sam Schilling is a comedian and character role player. In two roles that I have now seen him, in both he surprised me. In one he gave a type: a Galitzianer Jew. A thousand times I have seen some Jews in Krakow, in Lemberg, in Tarnopol, and in Kolomea -- and the copy is living. Mask and poses and the talking and the sounds, everything -- was struck. Herr Schilling is a remarkable observer. He copies a thousand trifles and movements that another would perhaps think it was nothing to see. It is only a shock that an actor, whomever works with such an understanding, does not follow a step further and develops his taste. This Galitzianer Jew, for example, occurs in the play, "Shabbes Kodesh." This stick plays in Spain ... A story from the fifteen or sixteenth century -- and suddenly it turns out to be the Krakow Jew. Did Mr. Schilling not ask himself the question, how does a Galician Jew from the nineteenth century come to Spain at that time, and how does he fit in there? It is not enough for a good player to create a figure; he must also know if the figure fits together.

Sam Schilling created a much more significant figure for his "Zaydenyu," in the play, a "statsharsh" (an "Odessa beggar"). I have seen this role for many years on the Yiddish scene played by the "great" Jacob P. Adler. The "great" Jacob Adler, everyone goes to school with this Sam Schilling. Sam Schilling's "grandfather" is a character figure that no player should be ashamed of. The thinking player is recognized in every piece: how he sits, how he speaks, how he stands, how he falls, and how he gets drunk. Perhaps only when he drinks himself, one can see a little exaggeration, which gives the impression of a bit of a exaggeration, and sometimes (actually) because he repeats ten to fifteen times the words, "You will have a black year." It can already be that Mr. Sam Schilling has made the observation that a drunkard often repeats a word to the point of nausea that has made my life; one must. however, have taste and know the line and the border. By one too many, the whole piece becomes exaggerated -- and it's a shame to make such a beautiful scene.

After all it becomes sad in the soul when one thinks about what kind of play a talented actor has to perform. ... It is nothing to understand how an actor such as Sam Schilling can endure it in such a play, and how in this play he has one of his best roles. ... I will wait until I have the opportunity to see this actor in a better play. I may still have to get to the "men of letters." Should be beautiful at least in a play by Jacob Gordin."

Schilling  then directed then directed for a year with his own troupe across Romania. In 1912 he returned to Lemberg, where he played in the local Yiddish theatre, until the outbreak of the First World War, participating for several years in the Austrian military, then he again played in the Lemberg Yiddish theatre.

B. Tsegrovski writes:

"He performed in hundreds of plays as a comedian and was a master in his roles. Over time, he became so attached to the audience that "Schilling will play today" was the best advertisement. ... "Russell Fleisch [sp]" in "The Jewish Soul" was one of his brilliant roles. Sholem Aleichem and Peretz, being in Galicia, expressed their appreciation to him. ... He used to faithfully and masterfully convey every movement and wrinkle of the types he portrayed. ... Before the war he was one of the richest Yiddish actors. During the unrest in Lemberg after the war, his property was looted and he became a pauper. ... the theatre in Lemberg is (was) cooperative, the "partners" did not have any income, until it happened that the theatre had closed. He was a person with ambition, and he suffered hunger quietly, along with his wife and child. ... Schilling died on the street from the coffee house to his home. He had suffered a heart attack. The people came to the funeral."

According to Jonas Turkow, at the end of 1917 in a second Yiddish theatre, the "Rusalka," or as they called it, "Venus," in Lublin, Poland, which was then under the Austrian Occupation, it played under the direction of the actor Sh. Hershkovitsh, "Mayn libling nokh fun farn krig (My Darling From Before the War)," -- Sam Schilling from Lemberg. Schilling had then, as a one-year volunteer, served in the Austrian military, and being in Lublin, which incidentally at that time was filled with Jews -- soldiers and officers of the highest rank -- he received from the military powers a license to perform in the Yiddish theatre there."

(Jacob Mestel remarks that his "one-year volunteer" was the privileged of the academically educated,  and Schilling did not have any systematic education.)

Schilling was the vice-president  of the Yiddish Union to Abraham Goldfaden in Lemberg.

Schilling passed away in Lemberg on 22 April 1926.

Morris Meyer characterizes him as such:

"The first comedian who we felt in London was Schilling, but even though I liked him as a comedian, he caused me to dislike him by the kind of plays in which I first saw him, and above all by the vulgar jokes that he managed to say in the plays.

When Sigmund Feinman came to London, and he began to perform better plays, the talent of Schilling strongly manifested itself. He played special character roles from the old times. His Leyzer Badkhan in "God, Man and Devil," was a master role performed in a brilliant way. ... I saw very talented actors in the role, among them Zhelazo and Silberkasten. His was very good as Leyzer Badkhan. Schilling was only better. He had a playful tone in his voice. He was well adapted to the role of an old man. He also had fine movements. The scene with Uriel Mazik, especially the scene when he explains to him  his philosophy as a badkhan, (when) he laughs when his heart is torn, he has done wonders.

Still a role strongly remained in us, in our memories. He made a great impression as the servant Schorr in Ronetti Roman's "Menasha." He was also good as Israel Yakov, the old clockmaker in "Meturef."

... Sam Schilling belongs to the best character-comedians of the Yiddish stage. he was truly a gifted artist. he even had a very bad school, the old Yiddish theatre. As a result of this, he had tendencies towards the well-known theatre shund, without which many things are exaggerated and made too much of, and was consequently buffooned and corrupted. But despite this, Sam Schilling always shined with his acting, and when he only had a chance to create a character, he did it in a wonderfully organized way, and evoked the greatest excitement among those who saw him. ... The main characteristic of Sam Schilling's playing was his tenderness. He brought out comic features of life so softly and tenderly. On the stage he made an impression like a good-hearted shlumiel whom life makes fun of, and he laughs at it, and also makes others laugh heartily."

M.E. from  Rosa Brie-Schilling, and Sh.E. from Julius Gutman.

• F.V. (Fishl Vitkover) -- 36 yor lakhendig gemakht dem Yudishn eulm in Galitsye un itst geshtorbn far hunger, "Tageblat," Lemberg, 27 April 1926.

• B. Tsegrovski -- Der eltster idisher komiker in Galitsyen geshtorbn, "Haynt," Warsaw, 2 May 1926.

• Morris Meyer -- Sem Shiling un zayn tragisher suf, "Di tsayt," London, 4 May 1926.

• Morris Meyer -- "Idish teater in London," London, (1942), pages 64, 65, 272.

• Benjamin Ressler -- Fun a zayt, "Der tog," N.Y., 14 August 1944.

• Nechamya Tsuker -- "Fir dores idish teater, " Buenos Aires, 1944, 259 pages [?]

• B. Palepade -- "Zikhrones," Buenos Aires, 1946, pages 249-50.

• David Frishman -- "Ale verk," Finfter band, Mexico, (1949), pages 75-77.

• Jonas Turkow -- "Farloshene shtern," Buenos Aires, 1953, Vol. 1, pages 17, 38, 239, 245, 247.

• Israel Aszendorf -- S.M. Gimpel's teater, "Di idishe tsaytung," Buenos Aires, 24 Sept. 1954.

• Jacob Mestel -- Zikhor-bleter nokh umgekumene aktiorn, "Yidishe kultur," N.Y., December 1954, 40 pages.