"An engagement ring," the daughter
answered him, with the same created seriousness that he had
"My father thought it was tefillin."
Goldinburg tried to play the role of a strict father. "Where
did you get such a ring?"
"Here he is." The daughter produced a
young man, and presented him, as Samuel Goldinburg was met
at the ship.
Goldinburg speaks with great love about
the Yiddish theatre world. On the other side of the sea,
there is talk of working days and worries about economic
life of the Jews. In Poland and in Lita [Lithuania], in the two
countries where he was, the Jewish economy has completely
In Lita the last several months here
began an anti-Semitic wave, recalls the star. An economic
boycott was organized against the Jews, and it grows and it
spreads. About Poland it is agreed. There the Jew was
expelled from every profession. As far as government
positions are concerned, virtually no one can be found in
any government office. And the interest rates, especially on
Jewish businesses and enterprises, are virtually unbearable.
"In general the Jewish condition in
Europe is a bitter one," says Goldinburg. "I mean that there
is no future for Jews. I don't know how it is in England or
France, but in the countries that I had visited, the conditions
And yet, despite the bitter need of the
Jews, he went into the Yiddish theatre and supported it with
his last ounce of energy.
"How do you explain that?" -- the
co-worker of the "Forward" asked.
"I have two explanations," said
Goldinburg. "There are at least two reasons for this.
Firstly, the theatre is a place where the Jew can forget
what is troubles are. Recreation refreshes him, but it does
not satisfy him with enough vitality, with his struggle for his
existence. Secondly, the Jew goes in a Yiddish theatre
because when he goes, he expresses his protest against his
oppressors and persecutors. In Poland, the Jew does not -- I
mean the great Jewish youth -- in the Polish theatre does
not really have that reason. The Polish world closed all the gates against the Jewish youth. The protest is being
instigated with the performances of "Yiddish theatre."
There are Yiddish theatre-goers,
Yiddish theatres, Yiddish actors. There are no Yiddish
theatres, Goldinburg means, however, there are none there.
The local Yiddish theatre is almost entirely a vaudeville
theatre. And this is because the Jews want to laugh in the
theatre because of their troubles. They look to forget and
be amused for the several hours that they spend with the
performers. Goldinburg says that only the writers and a
small part of the Jewish intelligentsia want serious plays
there. The masses there want light amusement. The pair of
Hymie Jacobson with Miriam Kressyn had an extraordinary
success with their operettas. They gave the audience a
hundred percent of amusements. Also Michal Michalesko was a
hit with his first operetta.
"True," Goldinburg hurried and added,
"The Polish theatre is no different from the Yiddish in
this respect. And economically it is worse off than the
With great warmth Goldinburg speaks
about the Yiddish theatre audience in Kovno and in the
Lithuanian province. Such heartiness, such love, and
understanding for theatre is rarely found, according to him.
Before him Hymie Jacobson and Miriam Kressyn played there,
and they had a great success. And when Goldinburg came, they
had with him his serious things that were taken up with the
same breadth and with a warmth that showed the prosperity
years in America. This was last March, before the
persecution of the Jews became so sharp.
The Jews feel so strongly attached to
the theatre that even when he returned to play in the town
of Panevezys, he received letters from the other towns
protesting because he had only come to them once.
"What a youth, what boys and girls,
what a precious youth there is!", says Goldinburg, and his
eyes lit up from the many memories of his playing there.
Goldinburg will give over to the
"Forward" a mass of interesting episodes and impressions of
his recent visit to the other side of the sea.