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Berta Gerstin and Jennie Goldstein arrived in New York last week.

-- They will continue to travel for the coming season.

November 12, 1937

Two well-known actresses, Berta Gerstin and Jennie Goldstein, as we have already reported in the "Forward" last week, arrived back in New York from South American countries, where they played months-long with success. According to their [well-known] names, they were also invited to play in Buenos Aires and other countries during the coming season, which began on Passover.

Jennie Goldstein left New York last March, and she traveled directly to the Excelsior Theatre, together with Shmuel Aires, Ben-Zion Bertichevsky, Zilberberg, Porel Solomon and Clara Shtramer. In the company also there were other actors and actresses who played. Everyone who was there were union members, and the plays that were there were staged very well and were hits.

Jennie Goldstein was at the Excelsior Theatre for four months. Then, with her company, she traveled to the province in Argentina. She also played in Montevideo, Uruguay, and afterwards in Rio De Janeiro and Sao Paolo, Brazil. In Brazil she played for two months, and wherever she played, she performed in Gordin's repertoire and also played other plays.

"The Jews in Argentina love Yiddish theatre, -- she said. The Jews come in mass to see Yiddish plays, because Yiddish theatre there is the only place where they can be mentally maintained. True, they know American pictures there, but they don't understand any English, and secondly the explanations are given live in the Spanish language, and they, the explanations partly about the content, disappear so quickly from life that one does not dare to reread them. They don't go to the motion pictures so often. When they put on Yiddish theatre, however, they come with pleasure, and they play for full houses."

"The Jew in Argentina -- she continued to say -- suffers strongly from anti-Semitism. Before Hitler entered power there, they did not know the difference between me and Christ. Hitlerism is now poisoning the air there. It comes without "the attacker," the poisonous leaf that comes out of the bloodhound, the striker, and it helps greatly in igniting the hate towards Jews under the pretext that they are communists."

As the actresses explained, no one is allowed to speak Yiddish at a Yiddish meeting, unless the Yiddish language is reported to the police earlier, that they will be speaking Yiddish. To such a meeting a policeman will be sent, and he listens to every word that is uttered from the platform.

Bertha Gerstin traveled to Argentina last April, and she played in the Ambu Theatre for six weeks. She appeared in Jacob Gordin's "Mirele Efros," in Ibsen's "Nora," in Tolstoy's "Resurrection," and "The House of Glass," by H. Kalmanowitz. When she became forty in Buenos Aires, she traveled to Montevideo, Uruguay. There she played the same repertoire for six weeks. Then she traveled back to Argentina and played in the Jewish colonies.

"The life of the Jewish colonists -- Gerstin said -- is not a very happy one. The last two years, due to the drought. I am familiar with life in the great city of New York, and I however also wanted to become familiar with the life of the Jewish farmers, and the situation there is not a holiday. Many of the first colonists who were there and became settled with the assistance of the Baron Hirsch Fund, are extinct. The others are already old. The young continue to flee to the larger cities."

From the Jewish colonists in Argentina, Gerstin traveled to Rio De Janeiro, and after to Sao Paolo, Brazil, where she played for eight weeks.

Also she said that the Jews in the South American countries are enthusiastic for Yiddish theatre, and they also love good plays. Every good play is received by them with enthusiasm.




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