A rare presentation by the children and leaders of the camp, in honor of Sholom Secunda -- The well-known composer calls on the Hebrew Actors' Union to "keep an eye on" two talented, young men, Zalmen Mlotek and Moishe Rosenfeld.

Right at the beginning of the summer season I received a letter from the talented Zalmen Mlotek, the son of Yosef Mlotek, the Education Director of the Workmen’s Circle, inviting me to visit Camp “Hemshekh” at the end of July. In the long letter, written in Yiddish, he informed me that the children between the ages of seven to fifteen were preparing a program devoted to the history of the Yiddish theatre. It would be very important for all the children, he insisted, if I would come to visit the camp and be present for their show, in which all the children would participate.

Since I was very busy during the summer I was of two minds whether to accept the invitation or not, and because I couldn’t decide. I also didn’t answer the letter. In mid-July I received a phone call from the young musician Zalmen, telling me that the children were waiting impatiently for my answer because they were in daily preparations for the program “Yiddish Theatre," and they were waiting even more impatiently for my visit.

I couldn’t resist the temptation and accepted the invitation for the last Friday in July. A short time later my wife fell and damaged her knee. My bad luck, I became a “nurse” and was forced to call Camp “Hemshekh” and inform them that, unfortunately, I couldn’t come because of what had happened to my wife. This was the end of Chapter One.

A week later I received a “telephoned” telegram from the Western Union office in Montreal. The agent explained to me: since the telegram was in a foreign language he couldn’t read it to me, but he would read each letter, written according to the English alphabet, and if I knew the language “I believe it is Yiddish” he added, I would have to figure out what the letters meant myself. The telegram was 142 words long and the exercise took more than an hour. Only then I began to read the telegram, as follows:

Dear khaver Secunda, we understand that under the present circumstances you cannot be our honored guest at the evening devoted to the Yiddish theatre. Please excuse us if we tell you that we are very disappointed that this has happened. During the week we told the children about your important contribution to the development of the Yiddish theatre and of Jewish music. They learned a number of your songs and were delighted that they would have the opportunity to sing them for you. Everyone in Camp “Hemshekh” hopes that your wife’s condition will improve quickly. 

If by Friday evening you see that you might still be able to be with us, we would be very happy. We would provide our car, in whatever way would be convenient for you. With the warmest regards we remain, 

Zalmen Mlotek, administration and staff of Camp “Hemshekh," Mountaindale

‘Nu, how can you refuse little children who are learning to sing Yiddish songs?’ my wife pleaded with me. ‘You have to go. I’ll manage.’ An hour later the phone rings. It’s khaver Baran, the Director of Camp Hemshekh. ‘Khaver Secunda, you must make every effort not to disappoint these little children.’ After that phone conversation I promised to do everything I could. We agreed on when the car would come to take me to the camp.  

Friday evening, at the appointed hour, I was already standing outside in front of the main entrance of the Concord Hotel, when the Camp Hemshekh car promptly arrived with khaver Baran at the wheel.

I am very familiar with the road in the Catskill Mountains, and also with the surrounding landscape. When we approached Mountaindale the landscape became very unfamiliar. Different houses, different hotels, different guests and even more different suits. I thought I had wandered into the neighborhood of the Lubavitcher Rebbe. Young and old in ‘kapotes’ and ‘shtraymlekh,' dressed in Sabbath garb on the way to shul. For me this was a new view of the Catskills. And then, there we were at the gate of camp “Hemshekh,” and we drove in. Everything was quiet, no one to be seen.

Why was it so quiet? Where are the children? ‘The children are waiting for you in the auditorium’, khaver Baran answered. Not knowing what awaited me, I slowly followed the director. As soon as we reached the entrance to the auditorium all the children stood up and, with the young Zalmen Mlotek at the piano, began singing with vivacious enthusiasm: “Welcome Sholem Secunda."

I listened to the clarity of the voices, how rhythmic and beautiful the tone. I was especially impressed with their pure diction, when 120 children sing and not one syllable is lost. Even though I stood stunned in great amazement, I couldn’t help thinking: why is the diction not as clear with many professional singers?

The children finished their welcome song, sat down on their chairs, and only then began greeting their guest with warm applause. I was still standing in some confusion and didn’t know what to do until khaver Baran led me to a chair that had been prepared for me in the middle of the room, among the children.

The performance began with a narration written by Moishe Rosenfeld, Sam Kazman and Mikhl Baran (director of the camp). The whole narration was read first in Yiddish by Moishe Rosenfeld, and then immediately in English translation by Ruth Baran.

The whole history of Yiddish Theatre starting with Abraham Goldfaden until the present day, illustrated with songs from each era. The narration was written with great respect for the theatre, and for all who were responsible for its progress.

Then Shifee Lovett stood up, a little girl who drew one’s attention even before she was introduced to sing ‘Rozhinkes mit Mandlen’. During the whole narration she had reacted realistically to every event and she sang with the charm, taste and ‘Yiddishn tam’ that warmed the heart.

Scenes from ‘Shulamis’ and ‘Di Tsvey Kuni Lemels’ were presented with Jack Kartsch and Ruth Baran playing the parts. A scene from ‘Di Kishef-makherin’ was beautifully acted by Moishe Rosenfeld (Bobe Yakhne) and Ruth Baran (Mirele).

After they concluded the part about the theatre era, the rest of the program was devoted to ‘your humble servant’ with songs that I had written for the theatre, as well as the art songs of famous Yiddish poets. One hundred and twenty names are too many to list, but each girl and each boy sang with special ‘tam’ and good taste. They drew special attention with their clear diction and Yiddish pronunciation.

Naturally, from among my songs, ‘Bay Mir Bistu Sheyn’ was presented by a charming set of twins, two lovely girls who are the daughters of Hershl Chanin and granddaughters of Nachum Chanin, Jessie and Karrie. They sang and danced with authentic theatrical taste. Compliments are due to Sheva Zucker for the wonderful, effective and appropriate choreography.

I was particularly impressed by the decorations, both in the auditorium and on stage. I couldn’t believe that children had created them. When leaving the auditorium I found out that the decorations were painted by Eileen Reisner, Jane Kartsch and Myra Mniewski, really talented girls. Special compliments go to Ruth Baran for her interpretation of ‘Eybik,’ and Melissa Biren for her singing of ‘Zing Shtil’ with the audience.

And now I can’t give enough praise to the two young men (bokherim) Zalmen Mlotek and Moishe Rosenfeld. Two talented young people with a healthy feel for theatre, and a particular love for Yiddish. The two young men coordinated the whole show, directed and produced it.

In conclusion I want to make a proposal to the Hebrew Actors Union. Keep an eye on these two young men! We need them! I would also hope that, if possible, at the next annual show of the Yiddish Theatrical Alliance and the Hebrew Actors Union, they invite “the children” and “their directors” to be an important part of the program. They would show the audience that Yiddish Theatre has a future, and how beautifully Jewish children can learn to speak and sing in Yiddish. Bravo Camp Hemshekh.

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(Translation by Rivka Augenfeld)