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The Second Avenue
Theatre
"DER MAZELDIGER BOKHUR" |
This review, written by Hillel Rogoff, was
first published in the Yiddish Forward newspaper on December 6,
1935. Here it is: LEO FUCHS, A NEW STAR ON THE YIDDISH STAGE He makes his first performance in Olshanetsky's new operetta, "The Lucky Boy," in the Second Avenue Theatre. -- Moishe Oysher and Michal Rosenberg. -- the music and the songs.
Here's the catch: A pure, real estate agent dies in America, and he leaves his fortune to two nephews. One of the heirs (Max) is here in the country; the second (Nakhum'she) is in Galicia. In the will it is inscribed that if one of the heirs will not be entirely healthy mentally, then his part of the inheritance would be given over to the second. Another point in the will is that the heirs do not dare to marry girls who have a "corrected past." Max is in love with a girl named Sonia. They prepare to get married as soon as the inheritance is divided. Meanwhile, one waits for Nakhum'she, the second heir, who already knows of this happiness, and is on the way to America. The tangle is formed as soon as Nakhum'she arrives from his travels. He recognizes Max's bride (Sonia), as the girl who once was engaged to him in his town in Galicia. She borrowed money from him at the time and fled to America. Sonia, you understand, denies this. Her bridegroom is deeply in love with her, and he does not believe it. However, Nakhum'she makes such cries, such a tumult, that everyone thinks he's out of his mind. The girl's father is being cared for by a doctor, who declares Nakhum'she to be mentally ill. He is taken to a lunatic asylum. In the family there is a cantor (Sheftel Kanarik). He is a brother of the deceased, real estate agent. His mother (Tsipe Henye) is virtually the only one who understands about the conspiracy against Nakhum'she. He goes into the lunatic asylum, and through a certain twist of fate that occurs there, Nakhum'she succeeds in escaping. He returns to New York and manages to convince his cousin Max that his accusation against Sonia was correct. It goes without saying that in the end everything is settled. Nakhum'she forgives her for committing a crime against him. The inheritance is divided, and Max marries his beloved. The two heroes of the play are the cousins, the heirs, Max and Nakhum'she. Max is played by Moishe Oysher, and Nakhum'she by Leo Fuchs.
Moishe Oysher is likely the best, or
one of the best singers, on the Yiddish stage. His voice is
strong, pure and hearty. In particular, he excels in Jewish
melodies and non-Jewish pieces. Mr. Olshanetsky has composed
for him several such compositions, which he sings with such
heartiness, so much Jewish sweetness, that the audience
becomes enchanted and hung over. They simply want him not to
leave the stage. He also sings the beautiful love song from
the play (a duet together with Anna Toback) -- a song that
will surely remain in the repertoire of Yiddish theatre
music.
Leo Fuchs, as Nakhum'she, changes during the course of the play. In the first act he is a green, young man from Galicia. He is still wearing his payot (side curls), his kapote (a long coat worn by Orthodox Jews), his tales-ko'tn (four-cornered tasseled undergarment). A little later one sees him in a lunatic asylum, without wearing his payot in such institutions. Later on he already is a genuine American in American clothes, and in the very last scene he is dressed as an aristocratic, lively youth in a Broadway café. And for each of the scenes, Fuchs has a special bundle of comedy: special dances, special songs, and very special comical pieces, movements and tricks. In the first scene there was a grotesque dance; in the last they are refined. Fuchs is without a doubt the best and most beautiful dancer that the Yiddish stage has, when it is seen. Firstly, he possesses the figure besides. He is slender and tall with fine, tucked hands and feet. And secondly, he is gracious, boyish and athletic. He dances not only with his feet, but with his entire body. And each movement is full of charm. In the last act, when he arrives unharmed in his cutaway, the audience forgets that they have a comedian in front of them. Fuchs looks like a "matinee idol," a lover, a romantic actor. And his dances in this act are indeed of the kind that lend themselves to a player of heroic roles. Leo Fuchs and Moishe Oysher perform their operetta roles reasonably well. So do all the rest of the major actors in the play. Only one exception to this is Michel Rosenberg in the role of Sheftel Kanarik. Michel Rosenberg plays his role not as in an operetta, but as in a true drama. He creates a character and plays him highly artistically. Would "The Lucky Boy" have been played without music and dance, only as a legitimate play, the "hit" would have been none other than Michel Rosenberg. Miss Anna Toback plays the role of Sonia. She has a young, beautiful voice and makes a fine appearance. The naughty, burlesque roles were successfully played by Annie Thomashefsky and Dave Lubritsky. Besides those mentioned, there also participated the following actors and actresses: Florence Weiss, Nadia Dranova, Abraham Teitelbaum, Esta Salzman, Izidore Schuchatt, Jacob Himmelstein, Michael Wilensky, Abraham Fishkind, and Sara Zeidman. Esta Salzman performs a couple of dances with Fuchs in the second act exceptionally well, in one of the "hits" in the play, and for the "hit," Salzman deserves no less credit than Fuchs. The music is positively pleasant, fresh and hearty. Olshanetsky gives the audience a "variety" of melodies and songs; American, Yiddish, cantorial, dance music, and love music, songs from the old country and fresh, American songs. And each of the melodies are a hit with the audience, many more, many less. I don't believe that in the play there is one song, or songs, or singing, that the audience didn't feel. This is a record that Olshanetsky may be proud of. All in all, "The Lucky Boy" is a show with which one can have a very, very good time.
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