Lives in the Yiddish Theatre
SHORT BIOGRAPHIES OF THOSE INVOLVED IN THE Yiddish THEATRE
aS DESCRIBED IN zALMEN zYLBERCWEIG'S "lEKSIKON FUN YIDISHN TEATER"

1931-1969
 

Bernard Young
(Boaz Yungvits)


 

Born in March 1870 in Nowy Dwor, Poland. His father was a contractor, his mother an ashet-khil; he knew Gemara, and on Shabbat afternoon he would pre-listen to the children's Gemara page. At is home he also often used to listen to the cantors.

At the age of twelve he went to learn with the Yanover rabbi, afterwards returning to learn alone at the Beit HaMedrash, reading the Hebrew Haskalah literature.

[Tur] and with a teacher he learned Russian, Polish and German, and under the imprint of Kalman Shulman's "Hrist bitr" he attended a "Bar kokhba" production put on by the Tanzman-Spivakovski troupe in the Eldorado Theatre, and he became a star in the amateur theatre. A year later, he traveled to London, and there became an understudy for the local Yiddish troupe (Adler, Gradner, Max Rosenthal, Aba Shoengold).

In 1899 he came to America and became a member of a dramatic club, where Koppel Sender was performing at Turin Hall (4th Street) Goldfaden's "Doctor Almasado," in which Y. debuted as
"Bartelo" and later also toured across the province to act in the play.

In 1891 he entered as a professional actor with Adler at the Poole's Theatre, and there he had the opportunity to act "[Hrif']" in Gordin's "Der yidisher kenig lir (The Jewish King Lear)," then he

acted with with Adler at the Roumanian Opera House and at the Windsor Theatre, where he was the first "Bar hina" in the then great success of the opera "Bit-David (House of David)."

From 1900-1909 he acted at the People's Theatre and had already held an important position as an actor. In 1909, he became a partner in the Thalia Theatre (with Kessler), acted there for two seasons, then with Kessler in Brooklyn's Lyric Theatre, and in 1911 staged his adaptation of H. Meisel's play, "The Bigamist," under the name "Zayn veyb's man."

In 1911 he traveled to America and [nisht torndik areynforn] in Russia, guest starring in Lemberg, Czernowitz, Iasi, Bucharest, where he for the first time performed in Jacob Gordin's "Eyts hada'as (Tree of Knowledge)." He returned to America where he, as a partner, helped build the Second Avenue Theatre, and he acted there during the 1911-12 season.

In the summer of 1912 he traveled to his wife Clara Young who was in Warsaw, and there staged at the Elizeum Theatre with Anshel Schorr and Rumshinsky "Dos meydl fun der vest (The Girl of the West)" under the name  "Di amerikanerin." He returned in the middle of the 1912-1913 season, and Y. retired from his partnership in the Second Avenue Theatre and went back again with Clara Young to Warsaw, where he took over the Kaminski Theatre and there also put on with Rakow, Rumshinsky's "Khantshe in amerika," Phillips' "Alma vu voynstu," and for the first time on the Yiddish stage the German opera "Puptshik."

For a certain time Y. took a break from his acting and occupied himself completely with directing the plays for Clara Young ,and with the business of these productions.

At the start of 1915 he came to Odessa and put on for the first time at the Bulgarov Theatre his adaptation of the operetta "Di dame fun maksim" under the name "Madam hoplya," and in the same year went on a tour across Rumania, again returning to Odessa, taking over the Nowvy Theatre, and at the end of 1915 here he put on his own musical comedy  "Jakele blofer" ("Jakele blofer, a comic opera in three acts from Boaz Yungvirts, published by T. Jacobson and M. Goldberg, Warsaw, 1926," p. 51, 16], in which he acted over a hundred times.

In 1916 he acted in Yekaterinoslav, and for four weeks in Moscow and Peterburg. He again traveled to Odessa, and here in the beginning of 1917 put on Itzak Katzenelson's musical comedy "Anna bleyb."

During the March Revolution he acted, after a lengthy forbiddance, in Kiev in the Solovtsov Theatre, and afterwards across other cities of Russia.

At the end of 1920 he came back to New York and together with William Rolland for the 1921-22 season Brooklyn's Liberty Theatre, wherein he brought Clara Young from Romania, and on 1 October 1921 staged for the first time in America his comedy "Jeykele blofer" (music by Sholom Secunda), the European operetta "Dos holand veybkhen," and the musical comedy "Berele tremp" by Israel Rosenberg (later adapted by Y.).

In 1922-23 he acted in Toronto in the Standard Theatre.

In 1923-24 he acted in the Yiddish Art Theatre in the role of the "Polish Jew" in "Shabse Zvi," and then traveled back to Warsaw, where he directed in Kaminski's theatre Moshe Schorr's operetta "Di rumenishe khasene (The Romanian Wedding)" in his own adaptation, which then in the same year was part of the repertoire for all Yiddish houses in America.

In 1925 he directed Clara Young who guest-starred in the Soviet Union, and there he acted for two-and-a-half years. By the time Y. in April 1927 staged in the Aquarius Theatre in Moscow his own Chasidic operetta ("Sha, der rebbe fort" (music by Trilling and Rosentur). In September 1928 he traveled to Argentina and there staged with Clara Young several plays, and then he guest-starred by himself in Gordin's plays.

In 1930-31 he acted in Baltimore.

In 1931-32 he was in Boston.

In 1932 he was in Thomashefsky's Brooklyn Gaiety Theatre.

During the 1931-32 season in Toronto there was staged by Misha Fiszon Y.'s comedy in three acts, "Di yidishe kolonistn fun rusland."

In 1914 Y. had published in "Di varhayt" several articles about Yiddish theatre in Russia and Poland ,and in Argentina in 1928 the Argentinean "Pnimer un pnim'lakh vegn yidishn teater in ukraine."


Sh.E.

  • Noah Prilutski -- "Yidish teater," Vol. II, p. 67.

  • Matias Rose -- Klara yong in dzheykele blofer," "Di tsayt," New York, 7 October 1921.

  • M. Osherowitz -- Bronzvil un ihre tsvey theaters, "Forward," New York, 7 October 1921.

  • B. Gorin -- Klara yong in liberty theater, "Morning Journal," New York, 10 October 1921.

  • William Edlin -- Di elegants fun klara young in der opereta "dzheykele blofer," "Der tog," New York, 18 October 1921.

  • Shmuel Roshansky -- Klara youngs debut in teater "Ekselsior".

  • "Dzhekele blofer" fun boaz yong. "Idishe tsaytung," Buenos Aires, 17 September 1928.

  • Sh. R. [Sh. Rozhansky] -- "Sha, der rebbe fart!," "Idishe tsaytung," Buenos Aires, 1 October, 1928.

  • Jacob Botoshansky -- Klara young als a bukhur a khvat, "Di prese," Buenos Aires, 26 October 1928.

  • Shmuel Rozhansky -- A sheyn oyfgefirte piese in teater "Ekselsior," "Odesa mama" fun boaz yong, "Idishe tsaytung," Buenos Aires, 28 October 1928.

  • Sh. R. -- Der debut fun boaz yong, "Idishe tsaytung," Buenos Aires, 5 October 1928.

  • Y. B. [Botoshansky] -- Y. gordins ets hdet in "ekselsior" (debut fun boaz yungvits), "Di prese," Buenos Aires, 5 October 1928.

  • Boaz Young -- Vi azoy men hot geshpilt yidish teater in di shreklekhe teg fun ukraine, "Pnimer un pnim'lak," Buenos Aires, 213, 1928.

  • Sh. R. -- "Mzmzel hoflia," muzikalishe komedye fun boaz yong, "Idishe tsaytung," Buenos Aires, 9 November 1928.

  • Elchanan Zeitlin --Der oyftrit fun klara yog, "Unzer ekspres," Warsaw, 13 January 1930.

  • M. Kipnis -- "Sha der rebbe fort!," "Haynt," Warsaw, 22 January 1930.

  • B. K. [Karlinsky] -- Klara yong oyf der bihne, "Der moment," Warsaw, 24 January 1930.

  • Tatiana F. [Fuks] -- "Sha, der rebbe fort," Di neye piese mit klara young, "Nayer folksblat," Lodz, 24 March 1930.

  • LE -- Klara young als rbile, "Vilner tog," 1 April 1930.

  • A. V. [Vaserman] -- Klara young in "dzhekele blofer," "Riger tog," 4 May 1930.

  • K. [Kitay] -- Klara yong in "Odesa mame," "Frimorgn," Riga, 8 May 1930

  • -- N. -- "Odessa mame" mit klara yong, "Riger tog," 8 May 1930.

  • Kit -- Klara yong in "Sha, der rebbe fort," "Frimorgn," Riga, 18 May 1930.

  • M. Mairites -- Klara young in "Sha, der rebbe fort," "Folksblat," Kovno, 103, 1930.

  • Y. Yerozalimski -- Dzhekele blofer, "Belgisher tog," 24 December 1930.


 

 

 

 


 

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Adapted from the original Yiddish text found within the  "Lexicon of the Yiddish Theatre" by Zalmen Zylbercweig, Volume 2, page 914.
 

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