Museum of the Yiddish Theatre



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Second Avenue Theatre
35-37 Second Avenue, New York, NY
This production opened on September 19, 1934.

(Here Runs the Bride)

by Ossip Dymow, music by Joseph Rumshinsky.
review by Lazar Fogelman, published on September 28, 1934.


After a couple of years of wandering in the gentile world, Molly Picon now has returned to the Yiddish stage, and we again have for ourselves this well-known threesome -- Molly Picon, Joseph Rumshinsky and Jacob Kalich.

It is clear that the Jewish community has longed for its pet because it received Molly Picon with a special warmth, I would say even with true love.

And she justly deserves such a relationship: The charming, playful and moving Molly Picon has special qualities with which she wins the hearts of the audience. Something childish, innocent is felt in her way of playing; and even a double-edged joke or saying comes out quite clean and innocent with her, because she is not vulnerable, not rude by her nature.

And her true talent lies in comedy; This feels especially poignant in her playing in Ossip Dymow's new operetta, "Here Runs the Bride," in which she now performs. In the comic scenes, in the light satirical imitations, she feels like a fish in water. With her lively gestures, with her moveable face and with her expressive eyes, she achieves the desired comic impression even where it is sometimes not very funny, not very comical. After all, she always plays herself, -- the charming, mischievous Molly.

In Dymow's new operetta, "Here Runs the Bride," she, you understand, the bride, who "runs." She runs here from her unknown husband, even from under the khupe. She, a poor orphan, here is disguised as the son of a rabbi here with the sole purpose of saving him from military service in the Czarist army. She doesn't want such a match, and she flees. The groom also doesn't want to marry an unknown bride, and he also flees from the forced wedding.

The runaway bride yearns for an unknown young man whom she met on the train prior to her wedding; and the runaway groom also longs for the unknown girl whom he met on the way to his wedding, The fleeing bride longs for the unknown young man who she had met on a train, as she travels to her wedding; and the fleeing husband also longs for the unknown girl whom he met on the way to his wedding, although both did not see the other during their meeting. (That's what the course of the operetta demands, and you can't help yourself here...)

The bride flees in men's clothing and falls into the military (don't ask any questions, I beg you!...) The bridegroom also falls into the same place; and here, in the barracks, they both meet; and it reveals to both the great secret of both of their longing and their own broken marriage [plans], and love wins under the funny sounds of happy wedding music.

This is the naive, artistic content of Dymow's new operetta, which is richly staged by Kalich and accompanied by Rumshinsky's loud, rhythmic music.

Kalich obviously has put in a lot of work. He has inserted scenes and pictures from all over the world. It feels here that there are echoes from several until-now successful productions; here one feels certain echoes of the "Dybbuk," from "Yoshe Kalb," from Sholem Aleichem, and even from "The Wise Men of Chelm."

And he has set aside all of the scenes and pictures with a wide range, with rich furnishings and with various effects. It shines and glitters from the stage from the colorful clothes and from the gilded and silvered decorations.

You have different kinds of styles and different kinds of types and ways of life. You have here soldiers, Hasidim, Gentiles, Jews, men and women, and even a little angel as an addition; and they all run before our eyes like comic silhouettes, like light funny operetta characters that float before our eyes and disappear along with the rhythmic sound under which they move.

You have all the good things here; here you have this "pintele yid," and even internationalism; Mogen-Dovid's red and blue-white flag, nationalistic and revolutionary motives and whatever you want for yourself.

The comedy of the operetta is connected not so much with the actions as with the side, stuck-in scenes, jokes and witticisms.

Unfortunately, there is a part of this that is not very new, not very fresh; but when a few good actors, such as, for example, Molly Piicon or Michael Rosenberg take over, we forget that we have already heard everything already, and we continue to laugh.

The music is well adpated to the impetus of the acting and dance that accompanies it in the new operetta.

The acting of most of the participants is generally maintained in the spirit and rhythm of the operetta.

In addition to Molly Piccon's transparent, light and enjoyable acting, we have some other comic characters.

In a grotesque, easy way, the temperamental Annie Thomashefsky, in the role of a mother, has in herself a sea of energy and the full nine measures of speech.

A cunning Sholem Aleichem ideal is presented by the cunning Michael Rosenberg (Ah, when he also has the right, suitable role!)

Comical is the old man and eternally young Sam Kasten in the role of the Jew who should get a slap from "Natshalstva," and who gets a medal instead.

Lively and with temperament is Gertie Bulman as Tsipe, who is weak, gets a husband, and who, for that reason, does not get too weak in the heart.

Annie Hoffman is a small, stirring city grandmother who draws attention with her comic acting.

Two genuine well-known Gentile-types are portrayed by Moshe Feder (Alfeldfebel) and Boris Rosenthal (as the Conductor).

The main singing roles belong to Leon Gold, Muni Serebroff, and Selma Kantor. Leon Gold is a popular singer with a strong voice, and Muni Serebroff is a typical, handsome lover; Selma Kantor sings quite impressively.

Rose Greenfield is an imposing wife of a rabbi, and Nadia Dranova does the best that she can in the role of an undetermined Jewish woman Chana.

Dave Lubritsky is in the role of a chimney sweep and dances and acts like a chimney sweep.

And Efrim'l Schechter is a young man who shows the abilities of an actor.

The dances are arranged by Ilya Trilling.

"Here Comes the Bride" is, as we see, a cheerful, light operetta that is a funny, light operetta that can stand out among the general public.





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