|Battle Forming Over Jewel of Yiddish Stage|
By Nathaniel Popper
For the past decade, the Yiddish theater district of Manhattan’s Second Avenue has been dark, save for one tiny flicker of activity in a four-story building on East 7th Street.
|The great success of The King of Lampedusa : London 31 December 1943|
By Anna Tzelniker
I never thought that I would live long enough to enable me to celebrate the 60th anniversary of the world premiere of The King of Lampedusa, a record breaking Yiddish play which opened at the Grand Palais Jewish Folk Theatre, Commercial Road, London E1, on 31 December 1943. Yet here I am, not just celebrating this occasion but also writing the Foreword to this book and the first published edition of the play. Being a member of the company of actors who presented this play for the first time in w
|The New Face of Yiddish Theater: The Magic of Shane Baker|
By Rokhl Kafrissen
In 1996, Shane Baker looked like just another New York City cliché: a young gay man, recently arrived in the Big Apple from Kansas City, Mo., waiting tables at Tavern on the Green and planning his entry into the world of New York theater. But Baker’s story was unusual, even for New York. A Yiddish-speaking non-Jew, he had come to the city to start a life in Yiddish theater. Some might have said that he was — to be generous — a few decades late.
|Tanglewood and the Thomashefskys:Conductor Michael Tilson Thomas honors his grandparents Boris and Bessie Thomashefsky|
By Seth Rogovoy
When Michael Tilson Thomas takes the stage in Ozawa Hall at Tanglewood in Lenox, Massachusetts, on August 19 and 20, to pay tribute to Yiddish theater impresarios Boris and Bessie Thomashefsky in The Thomashefskys: Music and Memories of a Life in the Yiddish Theater, he will be completing a circle of familial and artistic legacy that began in the late nineteenth century in the Ukrainian shtetls where his grandparents were born. From those small villages, the two, like millions of fellow Jews, em
|Yiddish theatre to be celebrated Montreal International Festival June 17 to 25|
By Janice Arnold
Close to 100 artists and others associated with Yiddish theatres around the world are coming to Montreal in June for what is being billed as the first international gathering of its kind.
|'Jewish Mark Twain' Shines In 'Wandering Stars'|
By Robert Siegel
When Ukrainian-born writer Sholem Rabinovich died in New York City in 1916, throngs gathered in three boroughs to greet his funeral cortege. Rabinovich, who went by the pen name Sholem Aleichem ("peace be with you"), was a humorist and a champion of the Yiddish language — in the words of his New York Times obituary, a "Jewish Mark Twain."
|Molly Picon's scrapbooks bring back memories|
By Caraid O'Brien
Speed-walking in the frigid cold to the opening of "Pages from a Performing Life: The Scrapbooks of Molly Picon," an exhibit at New York's Center for Jewish History, I don’t once regret my recent return from the sunny coast of California. At every corner, my own history winks back at me, superimposed on top of centuries of New York lives, psychic monuments that are as every bit as real as the buildings that surround them
|The First Season of Maurice Schwartz’s Theater|
By Caraid O'Brien
The first season (August 1918 - May 1919) of Maurice Schwartz’s Yiddish Art Theater opened at the 900-seat Irving Place Theatre, built as a German theater, in New York City’s Union Square. Schwartz’s repertory company lasted more than 30 seasons.
|Between Yiddishland and Broadway|
By Edna Nahshon
Not long ago, I went to The New York Public Library for the Performing Arts at Lincoln Center to examine some old Yiddish theater photographs. Historic photos must be viewed in the inner sanctum of the library — a separate space where you can’t bring in personal paraphernalia, can’t use pens, can’t even whisper. When the requested materials are brought over, you’re required to wear white cotton gloves, as if handling sacred objects, and your compliance to the rules is punctiliously supervised by
|A maestro revives an era, with his grandparents as his guide|
By Steven Winn
The aim of the Yiddish theater, according to Michael Tilson Thomas, was "the entertainment, education and elevation" of its audience. The resourcefully churning engine that made those lofty goals possible was improvisation. If the music gave out before an actor made an entrance, Thomas confides early on in "The Thomashefskys," his delectable tribute to this bygone art form and way of life, the orchestra was expected to "fake something charming."
|A Century in the Life of Sholem Aleichem’s Tevye|
By Ken Frieden
In the autumn of 1894, Sholem Aleichem informed his friend and editor, Mordechai Spektor, that he was writing a short story entitled “Tevye the Dairyman.” After Spektor read and criticised this work, Sholem Aleichem responded: “Please don’t be offended — the world will certainly like it. I don’t know whether this is because the world knows more than you do, or because it knows nothing at all.” A century later, it is clear that Sholem Aleichem’s confidence in Tevye’s popularity was justified.
|My Shadow and I|
By Ben-Ami Feingold
Yosele acclimates in Israel, changes his name to Yoram, allegedly tries to detach himself from his exilic identity, even from his family "over there", and he tries to be a Israeli "Sabra" like the rest. He finds friends and a partner – the Sabra Nurit. But the "shadow" from over there, with the war and the holocaust, still haunts him. Even as it turns out that his family survived and now lives in Israel, he still experiences the trauma of 'Yosele', pretending to be 'Yoram', alienating or pretend
|Bad Girls : Burlesque show puts Jewish women in the spotlight|
By Adam Wilson
Jewish burlesque seems, in a way, only natural. Sex and humor are inextricably bound in Jewish culture (or at least in certain precincts of it); potty-mouthed, voluptuous women are celebrated. The burlesque tradition took root in the Yiddish theater nearly a century ago when Jewish thespians, not content to be restrained by a single medium, decided that their plays would include a bit of everything: song and dance, sentimentality and comedy, romance and raunchiness. This is precisely the logic e
|A world Yiddish premiere of an original Israeli play Children of the Shadows|
In honor of Israel's 60th anniversary, Yiddishpiel Theater is staging one of the most important plays written in Israel, about the "identity" crisis of those who succeeded in reaching the country in the wake of the Second World War.
|Warsaw’s Brave and Brilliant Yiddish Cabaret,” is back at Folksbiene|
By Steven Mcelroy
KLEYNKUNST! After the First World War, Poland became an independent nation after more than a hundred years of foreign rule. In Warsaw, where a quarter of the population was Jewish, the city’s rising class of secular Jews included lots of artistic types who were riding the new wave of Polish nationhood and looking toward a bright future. Kleynkunst teaters (little art houses) thrived during this vibrant period, offering irreverent, politically charged Yiddish cabaret that drew from a variety of s
|At Tel Aviv theater, Yiddish's past glory finds a voice|
By Benny Mer
Seven months after the American Jewish newspaper The Forward celebrated its 110th anniversary in the United States, the festivities have finally reached Israel. Friday saw the first-ever joint production between the paper and the stars of this country's Yiddish theater - Yiddishpiel.
|In the Mother Tongue, Songs With a Wide Appeal|
By Roberta Hershenson
Close to a thousand years old, evolved partly from medieval German, Yiddish at its height was spoken by millions of Jews across the world. As Jews assimilated into other cultures, the language became less dominant, though a literary Renaissance in the 19th century produced a trove of written materials. In its spoken form, Yiddish nearly perished in the Holocaust; for many today, the sound of mamaloshen, or the mother tongue, contains both sweetness and sorrow.
|Yoshke Muzikant at Yiddishpiel Theater Tel Aviv [ 28.7.07 ]|
This is the touching story of Yoshke, a penniless klezmer, and his love for Sheyne, a pretty young woman orphaned at an early age who works as a servant in the home of a rich lady, Madame Lurye. Sheyne is in love with her employer's son, the spoiled, empty-headed Semyontshik, who is seeking a match with a rich young woman with a handsome dowry.
|Those Were the Days : Saidye musical a good bet|
By Marlene Eisner
Dora Wasserman Yiddish Theatre performers easily convey the deep passion and love they have for the 1,000-year-old language. It shines through in every step, joke, lifted eyebrow and raised skirt. Not only do they put their heart and souls into what they are doing, their infectious enthusiasm spreads quickly to the audience. Under the exacting direction of Bryna Wasserman, and choreographed by Lorna Wayne, the nine singers and dancers — Mark Bassel, Billy Finkelstein, Aron Gonshor, Michelle Heis
|Back to The Travels of Benjamin The Third|
By Ala Zuskin-Perelman
I am reviewing it late, since it was not so easy for me to concentrate on writing a review. To explain why, I have to first tell my story. The 12th of January was chosen for the premiere on purpose, since it is the eve of January 13th, was the date that Solomon Mikhoels, the eminent Soviet Jewish actor, stage director, and public figure, was murdered under Stalin's orders. My father, Benjamin Zuskin, who was also executed under Stalin's order on August 12, 1952, starred as Senderl together with
|The World of Yiddish Theater in France|
By Pnina Rosenberg
This portrayal of the connection between the play and the audience describes theYiddish Theater in Paris in the 1950s but could easily have been applied to this theater ever since it opened in the middle of the nineteenth century.
Itzik Manger, in the introduction to a book on Yiddish theater between the two world wars, points out that Yiddish theater is one of the most recent among world theaters and, like Yiddish language and literature, is the fruit of the creativity of Eastern European Jewr
|Shmendrick : The Lore of Yiddish theater|
By Evan R Goldstein
The shmendrick is the nincompoop of Yiddish lore, a pipsqueak. A synonym for a hopelessly neurotic bumbler, this brand of shmendrick has become an archetype of American entertainment—think Jerry Lewis in The Bellboy, or Woody Allen in… well, most anything before 1998.
|A Night in the Old Market by Y.L. Peretz’s as a Twofold Text|
By Avraham Novershtern
If indeed the years following 1905 were “Years of Confusion” for Yiddish literature in Eastern Europe, the reader will probably be hard pressed to find this cliché interesting, wondering whether it might be possible to find more original and refined terms in the critical lexicon. Nevertheless, this is the most precise definition of the spiritual junction where Yiddish writers found themselves in these years.
|Cabaret Act Revives Music of Warsaw|
By Rivka Chaya Schiller
On a frigid January evening in New York City, Rebecca Joy Fletcher and Stephen Mo Hanan performed their two-person act, “Kleynkunst!: Warsaw’s Brave and Brilliant Yiddish Cabaret,” before a full house at Helen’s Restaurant, Cabaret & Piano Lounge in Chelsea, as part of a five-day-long European cabaret festival called Kabarett Fête.
|Not just for old times' sake|
By Greer Fay Cashman
Friday morning is a strange time for the premiere of a new opera, but the opera in question is just as strange. For one thing, it's in Yiddish. For another, it's set to prose. And far-fetched though it seems, the plot is based on what is purported to be a true story. "Chaim der zun fun Chaya, vos iz geboirn bei zein mutter's keiver" (in English: "Chaim the son of Chaya, born in his mother's grave") may have a cumbersome title, but at its January 12 premiere, the audience at Yiddish cultural cent
|In Lower Manhattan, the Echo of the Yiddish Stage Endures|
By Stefan Knafer
REAL estate agents have a knack for investing any Manhattan neighborhood with romance, no matter how harsh or dowdy its past. The bloodstained meatpacking district in recent years has assumed a sudden charm. Then there’s the Lower East Side, which has become a cradle to luxury condos after spending decades as a place where immigrants of all stripes strived to get to, then sought to leave as quickly as possible — a kind of perpetual springboard to a better life
|Yiddishpiel Theater in Tel Aviv opens Hannuka with Jewish Don Quixote|
Yiddishpiel Theater of Tel Aviv is at final Rehearsals of the new musical "The Travels of Benjamin the Third" by Mendele Mocher Sefarim, starring actor-singer Sassi Keshet ("The Cantor of Vilna") and Ya'acov Bodo, with the participation of the entire Yiddishpiel company and other actors – twenty-one in all , dancers and musicians. The play opens on December 16, 2006, the first day of Hannuka.
|Kids and Yiddish: Bagels & Yux|
By Laurel Graeber
It may be hard to imagine what the Village People have to do with the Chosen People. Or how the Swedish pop group Abba could facilitate the teaching of Yiddish. But the National Yiddish Theater — Folksbiene specializes in making connections (between Old World and New, Yiddish and English, and Jews and non-Jews), and does so hilariously in its annual holiday production, “Kids and Yiddish.” Conceived by Joanne H. Borts, Menachem (Michael) Fox and
|Lost Yiddish theater masterpiece revived in S.F. State musical production|
By Dan Pine
San Francisco State University theater professor Joel Schecter may not be a movie character, but he had an Indiana Jones moment when he discovered a lost masterpiece of the Yiddish theater buried in the National Archives. “We Live and Laugh” was a 1937 play by Jacob Bergren, a popular actor on New York’s Yiddish stages active in the Federal Theater Project (a Roosevelt-era WPA program that created work for actors, writers and stagecraft professionals).
|Stardust Lost : interview with Stefan Kanfer|
By Stefan Kanfer
My grandfather Oscar Librescu hailed from Jassy, Romania, where the Yiddish Theater began. His uncles produced many of those early works. Thanks to family connections, when he migrated to the U.S., he became friendly with many leading lights of the New York Yiddish Theater, including Jacob Adler and the reigning diva of her time, Bertha Kalisch. In fact, a picture of Ms. Kalisch hung in my grandfather’s study, where, on visits to his country place, I slept as a child. I remember it well, because
|All About Sholem Aleichem (1859-1916 ) and Yiddish Theatre|
Sholom Aleichem (Yiddish: שלום־עליכם, Russian: Шолом-Алейхем; March 2 [O.S. February 18] 1859 – May 13, 1916) was a popular humorist and Russian Jewish author of Yiddish literature, including novels, short stories, and plays. He did much to promote Yiddish writers, and was the first to pen children's literature in Yiddish.
|Reading Sholem Aleichem from Left to Right|
By Jeffrey Shandler
The Smithsonian Institute's 1976 exhibition entitled "Abroad in America: Visitors to the New Nation, 1776-1914," featured portraits of twenty-nine noteworthy sojourners from European and Asian lands to the United States, ranging from Alexis de Tocqueville and Charles Dickens to Giacomo Puccini and H. G. Wells. One of these visitors, the only Jew of the group, was Yiddish writer Sholem Rabinowitz, known to his public as Sholem Aleichem.1 Unlike most of the other travelers, Sholem Aleichem eventua
|The return of nudnik and klafte to Tel Aviv|
By Ofer Dines
They fought it, they mocked it, they tried to get rid of it. Before WWII more than 10 million people spoke Yiddish, and in less than 50 years it turned into an endangered language, but no more
|Exciting Days Ahead for the Folksbiene Yiddish Theatre|
By Zalmen Mlotek
The Folksbiene Yiddish Theatre is poised to become The National Yiddish Theatre, offering more productions of classic and new work, expanded touring, a national membership campaign and soon, a true home of its own.
|Lemaleh : Chava Alberstein's journey back to Yiddish|
By Benny Mer
After she composed songs in Hebrew, Chava Alberstein began composing songs in Yiddish as well. This occurred after she created a film with Nadav Livyatan, "It's Too Early to Be Silent, Too Late to Sing" (1995), in which she spoke in Yiddish with Israeli poets, most of whom unknown. The result of the composition was the wonderful album Die Krentzeh ("The Well") from 1998, which she recorded with the Klezmatics of New York. In this meeting – an emotionally loaded and harmonic meeting of flute and
|Highlights on Yiddish Theatre :The Dora Wasserman Yiddish Theatre|
By Ben Gonshor
Much has been written and said about the state of Yiddish language and culture in the world today. Is it dying, dead, is there a future? For Montreal’s Dora Wasserman Yiddish Theatre there’s just no time to join the conversation…they’re too busy.
|Luba Kadison : The last of a generation of great Yiddish actors|
By Julia Pascal
Luba Kadison, who has died aged 99, was the last of a generation of great Yiddish actors, and a star of the theatre of that language both in central Europe and in New York. Born in Vilnius, the capital of Lithuania (at that time part of the Russian empire), she was the daughter of Leib Kadison, one of the founders of the Vilna Troupe. When the city was suffering the German siege of 1916, the troupe (also known as FADO, Fareyn Fun Yiddishe Dramatishe Artistn) took root in the Kadison household.
|Bei Mir Bist du Schon :Johnny and George are back down at the Apollo|
By Patrick Fenton
They called themselves Johnny and George, and they played the Apollo Theatre and any other gigs they could get one hot summer in the 1930s. Somewhere along the way, they managed to get a booking at Grossinger's up in the Catskills. Not bad. Free meals, you make a few bucks and you're out of New York City for a little while, beating all that August heat that could blow down the sidewalks of 125th St. like a blast furnace. One day Jenny Grossinger showed them the music sheets for this Yiddish song
|Remembering How the Yiddish Theater Turned Into Broadway|
By Alexander Gelfand
Last fall, a musician friend who plays on Broadway took me to see the Folksbiene Yiddish Theatre's revival of "On Second Avenue," a revue chronicling the glory days of Yiddish theater in New York City. As one might expect, the show was heavy on nostalgia. "But the Yiddish theater didn't really die," my friend commented after the curtain came down. "It just turned into Broadway."
|The Yiddish Crooner : Seymour Rexite (1911-2002 )|
At the height of his popularity in the 1940s and '50s, Yiddish crooning sensation Seymour Rexite starred on 18 half-hour radio shows a week. At its outset his career comprised an all-Jewish repertoire that spanned from liturgical song to Yiddish popular music. But when he took to the Yiddish airwaves, the bill of fare diversified. Whatever song happened to be popular on American radio, his wife, Miriam Kressyn, translated into Yiddish and Rexite sang on one of his shows. He feared nothing, sang
|Abraham Goldfaden : A Theater Pioneer Gets His Due|
By Nahma Sandrow
You've heard of the Oscars, the Emmys and the Tonys. But the Goldies? Indeed, though you might have missed it, when the Hebrew Actors Union decided to give out awards for excellence, they named them the Goldies in honor of Avrom Goldfadn, the father of Yiddish theater. And the statuettes would follow the theme: silver-painted plaster renditions of the man himself sporting a flamboyant cloak and moustache.
|Way Up in the Gods|
By Chloe Veltman
Born in 1906 in Kovno, Lithuania, Kadison began performing with the Vilna Troupe as a little girl. Her father directed the company, founded in 1916, which staged Yiddish-language productions of Russian, Jewish, and classical plays. Over the course of her decade- and continent-spanning career, she performed in the original 1920 Warsaw production of S. Ansky's The Dybbuk ("the greatest Jewish play and perhaps one of the greatest plays ever written," she told me,) and played Stella Adler's love int
|Michael Tilson Thomas invites you to meet his grandparents -- the amazing Thomashefskys|
By Anastasia Tsioulcas
Near the beginning of "The Producers," Max Bialystock boasts, "I was a protege of the great Boris Thomashefsky."
George and Ira Gershwin knew Boris, wife Bessie and their children well, and they affectionately mention Boris in a couple of their songs. At the height of their popularity, Boris and Bessie entertained hundreds of thousands in an empire that stretched from New York's Lower East Side to Boston, Philadelphia, Chicago and beyond. When Boris died at age 70 in 1939, some 30, 000 mourner
|Al Grand is keeping Yiddish alive|
By Al Grand
For the past twenty years I’ve been pursuing a project which has been playing a modest role in the cause of keeping Yiddish alive. I have been translating the operas of Gilbert & Sullivan into Yiddish. In doing these translations I make a concentrated effort to adhere faithfully to Gilbert’s dazzling rhymes while striving to preserve unblemished Yiddish. I am never satisfied until I am absolutely certain that I've achieved a perfect match of verbal to musical cadence so that the lyric conforms t
|Yiddish Theatre on The Yiddish Radio Project|
All that survives from the "golden age" of Yiddish radio in the 1930s to '50s are a thousand fragile discs, rescued from storerooms, attics, and even dumpsters. But what a story they tell! The Yiddish Radio Project is a celebration of these recordings and of the forgotten geniuses and dreamers who created them. The exhibits on this site feature the Yiddish Radio Project radio documentaries that were first broadcast on NPR's "All Things Considered," rare Yiddish radio clips, archival photographs,
|Poet Beyle Schaechter Gottesman receives National Heritage Award|
The National Endowment For the Arts Announces 2005 Recipients of the nation's highest honor in the folk and traditional arts. Among the 12 winners was Beyle Schaechter-Gottesman, Yiddish singer, songwriter, poet. This is the first time that a Yiddish writer or singer has received this prestigious award. The fellowship includes an award of $20,000, a ceremony on Capitol Hill in Washington D.C. and a performance.
|Benjamin Zuskin on The Travels of Benjamin the Third|
By Ala Zuskin-Perelman
The theater critic Yehoshua Lubomirsky tells of a conversation with two students of acting whom he met at the actors’ club. It was during the first run of the film Don Quixote and the students asked him why, from the novel of the great Spanish author Miguel de Cervantes, there had come a film, an opera, even a ballet, but no stage play. In answer, Yehoshua Lubomirsky suggested that they go to the Jewish Theater to see a play featuring the character of the sorrowful knight and indeed his squire a
|Tamara is Dancing in the garden of Yiddish|
By Marion Fichel
Amol ist Gevein means once upon a time. It is also the name of the dance performance that Tamara Mielnik, the Martha Graham of Jewish Dance Theater, The show consists of a series of dances choreographed by Mielnik, and performed against the backdrop of a video of her return to post-war Belgium. As the on-screen Mielnik walks the streets of Brussels, revisiting her memories, her on-stage counterpart is at once narrator and performer as she leads her 10-strong troupe through a series of danced tab
|Celebrating 15th anniversary of Yiddishpiel in Tel Aviv|
By Dianna Lerner
The recent celebration marking the 15th anniversary of Yiddishpiel may have attracted an enormous audience of 2,700 at the Mann Auditorium, but it still had the intimacy of a shtetl wedding. Greeted by actor-director Shmuel Atzmon, who together with former Tel Aviv Mayor Shlomo Lahat founded the first Yiddish theatrical company in Israel, members of the audience were treated to an evening of nostalgia, humor and excitement.
|Fraydele Oysher the woman who played the major role in paving the road for women|
Fraydele Oysher doesn't think of or refer to herself as a pioneer of feminism. ..Fraydele's first significant job in New York paying $18.00 a week was at a theatre just across the Brooklyn Bridge...Fraydele can still be seen in TV commercials and performs in concerts worldwide.
|Yiddish Theater and Vaudeville Research Group|
By David Harris
The initial goals of the Yiddish Theater and Vaudeville Research Group
(hereafter YtandVRG) are to: provide an electronic discussion group in the form of a JewishGen Ytand V
mailing list for those genealogists tracing relatives who were involved in
Yiddish theater and/or vaudeville in any capacity, in any location, and in
any time period... read more...
|Yiddish theater in America comes roaring back to life.|
By Ted Merwin
The Yiddish theater in America was never a theater of understatement. The extreme circumstances under which the teeming masses of Eastern European Jewish immigrants lived — and often died — on the Lower East Side, fed the development of a form of entertainment that was raucous, unbuttoned and bursting with vitality. In a new Folksbiene revival of the “Lady Next Door,” directed by Allen Lewis Rickman, Yiddish theatre comes roaring back to life.
|Wasserman eulogized for preserving,expanding Yiddish theatre|
By Janice Arnold
Dora Wasserman directed more than 70 plays in Montreal, from beloved classics to translated plays of the Quebec and international repertoire to original works. Ever mindful of the long term, Wasserman never stopped working with children and teens, inspiring them with her love of the Yiddish theatre.
Yiddish theater originated in the traditional Purim festival plays (amateur theatricals derived from the biblical Book of Esther) that were enacted in Yiddish by the Ashkenazi Jews of northern and eastern Europe especially during the 18th and 19th centuries. At the same time the Haskalah movement, or Jewish enlightenment, inspired poets and playwrights--who had previously used Hebrew--to write for the masses, whose lingua franca was Yiddish.
|Real-Life Drama in the Yiddish Theatre|
By Nahma Sandrow
The real-life family is the Folksbiene (or People's Stage), at 85 the longest-lived, continuously performing Yiddish theatrical institution in the world. On one side is a matriarch, Zypora Spaisman, who is over 80 herself (she won't say by how much) and for nearly half a century the Folksbiene's mainstay. On the other side are Zalmen Mlotek and Eleanor Reissa, show business pros in their 40s who dreamed of breaking with the old ways in order to, in Mr. Mlotek's words, "ensure that the Folksbiene
|The Yiddish Theater in Israel: The 'Rothchilds'|
By Gad Nahshon
Thanks to 'Yiddispiel' Israel's only Yiddish Theater in this country and thanks to its founder-director, Shmuel Atzmon, the Israeli lovers of Yiddish will be able to enjoy a new production of The Rothchilds, the famous Broadway smash hit. Atzmon casted Dudu Fisher as the mean star together with Anat Atzmon, Carol Markovietz, and Israel Triestman. The music, Jerry Bock; the play, Sheldon Harnick; the director, Derek Goldby, who came to Israel.
|Jubilant Yiddish Theater Pulls Out All The Stops|
By Raphael Mostel
The old joke — that for every two Jews there are three opinions — comes to mind when thinking about the recent developments in Yiddish theater in New York City. After a period of sometimes rancorous family squabbling, the venerable 85-year-old Folksbiene Yiddish Theatre has just spawned a splinter group, the new Yiddish Public Theatre. Both troupes are now presenting alternate visions of families in conflict.