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She was a tall, slender
woman, virtually skin and bones. She had an ideal,
not-strong voice for speaking. She barely was heard in
the gallery, but she had there the top of her
feeling(?). She had experienced each moment of her life
for her role. We suppose that in a theatre she
disappears from the gallery with the plikhevate
heads from the orchestra. Also Joseph Brody with his
conducting stick as it vanished. We had only heard and
seen and laughed with the humor and the dramatic
conflicts that Miss Zeitlin had experienced.
The Yiddish-German actor
Morris Morrison very strongly held and demanded from
her that she should act with him in his classical plays.
Who knows how flat the Yiddish stage had seen of her
when the cruel death suddenly ripped her away from her
life and from the stage. A young tree interrupted at the
beginning of her bloom. Her death made an impression on
the East Side. After her death one first meets what a
great talent she possessed. Morrison complained
throughout the week ... Claiming in German: "She was,
after all, one well-blessed talent. In the burg
(castle?) theatre, she may have died nikht in the
God-ferdamter Bowery!"
The actor Elihu Tenenholz
writes in an inquiry:
"She passed away very young.
Her career as a Yiddish actress had only -- that it
began funanderblien when we lost Zeitlin. In
several roles her ideas also were good. As "Celia" in
"Kreutzer Sonata", she was temperamental and seductive,
such as 'Nina' in 'Der umbakanter', a role antithetical
to Zeitlin; a kind of cherry garden fanienkele
(girl?), she acted with the grace that comes with
talent".
M. E. from
Boris Thomashefsky.
Sh. E. from
Elihu Tenenholtz
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