Museum of the Yiddish Theatre


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The Rolland Theatre
482 Hopkinson Avenue, Brooklyn, NY
This production opened 0n February 23, 1933

(A Russian Wedding)

by William Siegel, music by Joseph Rumshinsky
review by Hillel Rogoff, published on March 10, 1933


We now have a new wedding in the Yiddish theatre. A couple of weeks back we came out to see a "Romanian wedding" on the Yiddish stage; now there is being performed a new "wedding," this time a "Russian wedding," in the Rolland Theatre.

A true blessing of weddings!

A "Russian wedding" put together by William Siegel, the main supplier of tears and laughter in the Yiddish theatre; the new "wedding" will be directed by Michael Michalesko, and the music for it is from the composer Joseph Rumshinsky.

This is not any opereatta in the ful sense of the word, only one would call this a "musical comedy," which is also quite a bit of light vaudeville and burlesque and is already an old custom on the Yiddish stage. The answer is quite simple. A portion of the public does not like melodrama. A second portion has held comedy. A third portion has fun from burlesque. Why shouldn't you shoot all three hares together with one shot? ...

Not always, however, is the answer correct. Very often, in such cases, one part of the operation interferes with the other. We are not used to a uniform, elaborate operetta.

Stuck into the opertta are not many melodramatic moments; instead there is more vaudeville-burlesque stuff, which pleases the audience.

More or less new in the introduction to the comedy, a scene of Jewish painters who are working with the son of an up-and-coming alrightnik, a former resident of Suffolk Street or Hester Street.

The wife of the alrightnik, a Lithuanian in ..., pravet [?] aristocratic piece, becomes uncooked when they mention "Suffolk Street" and shame on ordinary workers. That's why the young daughter is very democratic, and she is just in love with teh painter, who works around the house, mainly after he saved her from a thief who broke into the house when she was alone. She is an ... excellent soubrette.

A good impression was made by Michael Michalesko in the role of the painter; I think that he succeeds more in all of the dramatic scenes; True, he is very cold at times, but he is an actor with good diction. With an elaborate gesture and natural tone. In the last act he plays the role of a woman in an amusing, cheeky way.

The gifted Yudl Dubinsky in the role of a boss-painter, was very good, when not the old, "fete," couplets with ambiguous hints.

Perhaps a certain part of the audience enjoyed several couplets, also of Michalesko and from Diana Goldberg, when they appear in their underwear on the stage; but for them there are special burlesque theatres, why should they in an entirely fine musical comedy be covered with such stains?

Also the able actress Bertha Hart had got tired of the Tempe Kiffletloch and the awkward dances, which are not suitable neither for her nor for Dubinsky, her partner.

The young daughter of the alrightnik was played by Betty Budanov.

Anna Levine was the alrightnik, who is ashamed of Suffolk Street, and Harry Hochstein, who was the alrightnik.

Gertrude Silberkasten stands out as an ancient balabaste from the cabaret who belongs to her, but she doesn't have much to play.

Dave Lubritsky quickly helped out his "partner" Diana Goldberg.

The ungrateful roles of two swindlers, the father with his son, were played by Irving Honigman and Boris Auerbach.

Alex Bolshakoff deserves a compliment for his two successful numbers of lively Russian dances.

The "Russian Wedding" is in general an entirely joyful musical comedy for the audience, and the audience, it turns out, took to it.





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