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"DI GLIKLIKHE NAKHT"
This production was reviewed by a Yiddish Forward newspaper critic, L. Fogelman, on September 18, 1931. You can read it here:
Once again a William Siegel's play. Initially, a week ago, the Prospect Theatre opened the season with Siegel's melodrama. Now it has come to us to write about Siegel's operetta, "The Lucky Night," with which the National Theatre has opened the new season.
Siegel in the Bronx; Siegel on Second Avenue. Much like the famous Figaro in the opera, "The Barber of Seville":
"Figaro, here, Figaro there, Figaro everywhere!"
It seems that Siegel has really become the "Figaro" of the Yiddish theatre.
And the secret of his popularity with the theatre directors is entirely understandable: he went on the interesting road; he already knows the old recipe for gluing together a drama, an operetta, a comedy, a whatever you alone want. Even more so, adapting them to this or that theatre, to this or that actor. They are to him all "made to order." Should they have, by chance, a melodramatic role for Leon Blank. He had a cheerful operetta and was pushed into a tragic role of a bereaved father, who is a thief and is driven from his home. They should have Itzik Feld, the Warsaw comic, for a comic role, stumbling into the operetta as a refined, non-Jewish brat, and it's going a long way. Whether he sticks to the play or not, may God care.
It has been adapted to the theatre, and to the actors' strengths. Apparently Siegel's plays are a very viable commodity. This, however, often drives away the plays that he does not write, therefore there is nothing trite, nor entirely one style. It's a mix of melodrama, comedy, vaudeville and operetta.
In the end, however, he leaves the underworld and returns to his bride. It seems that this is connected to various disappointing events. The dancer with his betraying "friend" follows him still. The thief, the unknown father of Shloimke's bride, also follows him like a shadow. Everything, however, ends well. The "friend" meets a dark end from the thief; the dancer rejects Shloimke, and with luck he marries his Luba. They have a little dancer, they sing, and it's lively and happy ....
Boris Rosenthal "portrays in a sharp and humorous way the type of a thick, balding butcher with high blood pressure."
Saltsche Shorr plays quite smoothly the role of a widow who has one man lying in the ground. Max Rosenthal is her son, and Sam Gertler plays the role of the betraying "friend," who sends Shloimke to prison.
Also N. Himmelstein has a role.
The offering is entirely beautiful and convincing, and Herman Wohl's music from the operetta was pleasant to hear.
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