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932:; Sonya died of an infection contracted while giving birth to their son Abram; meanwhile, he had been carrying on an affair with a young woman, Jenny ("Jennya") Kaiser, who was also pregnant, with his son Charles. Depressed after Sonya's death, he passed up an offer to relocate to the United States, which was taken up instead by Mogulesko and Finkel. In winter 1887, an audience at the Princes Street Club panicked when they thought a simulated stage fire was real; 17 people died in the stampede. While the authorities determined that this was not Adler's fault, and the club was allowed to reopen, the crowds did not return; "the theater," he writes, "was so cold, dark, and empty you could hunt wolves in the gallery."
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575:—a businessman so successful as to have earned the nickname "the Jewish Tsar"—to get a job as a marketplace inspector for the Department of Weights and Measures, rather unusual for a Jew at that time. His mildly corrupt tenure there gave him good contacts with the police. These would soon come in handy for smoothing over certain problems of a young and unlicensed theater troupe when Rosenberg and Spivakofsky returned from Romania, penniless because the end of the war had meant the collapse of Yiddish theater in the provinces, and ready to start a troupe in Odessa.
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1209:, Adler went back briefly to Eastern Europe in summer 1903, where he tried to convince various family members to come to America. Although he was greeted as a hero, he was only partially successful in convincing people to leave; his mother, in particular, was determined to finish out her life where she was. (His father had died some years earlier.) He persuaded his sister Sarah Adler to follow him to America as her husband had died of heart disease in Verdun in 1897 and she was raising seven children on her own. She emigrated in 1905.
1818:, Spring 2004, which quotes Adler, "I was weak as a singer. I had not a good voice nor, I confess it, a very good ear. But is this why I turned from the operetta to purely dramatic plays? I think not. From my earliest years I leaned toward those plays where the actor works not with jests and comic antics, but with the principles of art; not to amuse the public with tumbling, but to awaken in them and in himself the deepest and most powerful emotions." Accessed online February 21, 2007.
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1065:, starring Adler and his new wife Sara was such a success that the play eventually transferred to Finkel's larger National Theater. This play (based only very loosely on Shakespeare) played well with the popular audience, but also with Jewish intellectuals who until this time had largely ignored Yiddish Theater, ending for a time the commercial dominance of operettas such as those of Horowitz and
398:(priest). His paternal grandfather lived with them for some eight years; he was a pious man, and the family was much more observant of Jewish religious practices during the time he lived with them. However, according to Adler, the real patriarch of the family was his wealthy uncle Aaron "Arke" Trachtenberg, who would later be the model for his portrayal of roles such as Gordin's Jewish King Lear.
645:. Goldfaden's own account says he came there at the urging of his father; Adler attributes it to Rosenberg and Spivakovsky's "enemies". Rosenberg, never the most ethical of men, withdrew his troupe from Odesa to tour the hinterland (soon, though, he would come to an accommodation by which his troupe would be an officially recognized touring company attached to Goldfaden's own troupe).
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picture of his time in London, although with some evasions around the relative timing of his relationships with his wife Sonya and with Jennya Kaiser and Dinah
Shtettin. It contains only a relatively fragmentary description of his New York career. In the English-language book of these memoirs, Rosenfeld attempts to fill the gaps with her own commentary.
1227:, and decided that he would do his own translation from Russian to Yiddish. The play was a great success, the first successful production of a Tolstoy play in the U.S., and Thomashefsky was so obviously happy for Adler that their friendship was renewed. Adler followed with equally successful productions of Gordin's dramatization of Tolstoy's
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many people who helped him out in various ways. Eventually, with the aid in particular of Sonya's relative Herman
Fiedler—a playwright, orchestra leader, and stage manager—the Adlers and the Grodners were able to take over the Prescott Street Club. There they presented generally serious theater to audiences of about 150. Fiedler adapted
1467:. I wept and swallowed my own tears... And I cursed the fate that bound me to him... Yet even as I cursed and condemned, the tears rose. For my whole life, my whole past, was before me on that stage... Poor weak first step of our Yiddish theater... I thank you for the happiness you gave us... I thank you Shmendrick—my beloved—my own."
972:. This gave him the basis to bring Dinah to America. Their marriage didn't last, though the divorce was amicable: she remarried, to Siegmund Feinman. Adler fell out with Heine, initially over business; at this time Heine's marriage was also falling apart, and Sara Heine would eventually become Sara Adler. Adler went on the road with
477:. Over the next few years he had numerous love affairs, and was prevented from a love marriage with one Esther Raizel because his own dubious reputation compounded the taint of his mother's divorce. He survived another pogrom, but his family was financially ruined by the destruction of their possessions and the theft of their money.
939:. His memoir is extremely unclear on the sequence of events, and hints at other affairs at this time. The memoir does make clear that the "hot-blooded" Jennya had little interest in a marriage, while Dinah's father insisted on a marriage, even though he despised Alder and made it clear that he doubted the marriage would last.
441:, "Jake the Fist". He soon got bored with boxing, but not with his new connections to the "sons of rich fathers, attorneys without diplomas", etc. A good dancer, he became part of a crowd of young toughs who regularly crashed wedding parties. His local celebrity continued, with a reputation as Odessa's best
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Playing to small audiences, on tiny stages, in communal troupes where all but the stars had day jobs, and playing only
Saturday and Sunday (the pious London Jews would never have tolerated Friday performances), Adler focused on serious theater like never before. However, he and Grodner soon fell out:
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At this time, Yiddish theater in London meant amateur clubs. The arrival of professional
Yiddish actors from Russia worked great changes, bringing Yiddish theater in London to a new level and allowing a modest professionalism, though never at much more than a poverty wage. Adler's memoir acknowledges
1193:, the great Shylock before that time, played Shylock as "morally superior to the Christians around him... driven to cruelty only by their more cruel persecutions." In contrast, "Adler scorned justification. Total vindication was his aim." In Adler's own words, "Shylock from the first was governed by
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The financial consequences of the collapse of their company were mitigated by a series of three benefit performances, in coordination with the local
Russian-language theater company. Sonya returned to Odessa to give birth to their daughter Rivka; Adler stayed on six weeks in Zhytomyr and had sort of
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By
November 1885, Adler had a theatrical club of his own, the Princes Street Club, No. 3 Princes Street (now Princelet Street, E1), purpose-built, financed by a butcher named David Smith. It seated 300; playing every night except Friday, he was earning about £3 s.10 a week, but with a fame well out
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Returning to New York, he and
Thomashefsky jointly leased The People's Theater, intending to use it on different nights of the week. Adler, exhausted from his Russian trip, was often leaving his nights unused, and Thomashefsky offered to buy him out for $ 10,000 on the condition that he would not
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nor
Maurice Heine at the Oriental Theater had any use for them. They headed on to Chicago, where, after a brief initial success, the troupe fell apart due to a combination of labor disputes and cutthroat competition. The Oberlanders managed to start a restaurant; he and Keni Liptzin headed to New
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reappeared. Adler wanted to include them in the group headed for London. According to Adler, Rosenberg, who played many of the same roles as Israel
Grodner, essentially told Adler "it's him or me". Adler attempted to convince him to change his mind, but insisted on including Grodner in the travel
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for "eagle"), he achieved his first theatrical success in Odessa, but his career there was rapidly cut short when
Yiddish theater was banned in Russia in 1883. He became a star in Yiddish theater in London, and in 1889, on his second voyage to the United States, he settled in New York City. Adler
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for the insult and humiliation he has suffered at his hands. This is why he goes so far as to bring his knife and scales into the court. For Shylock, however, the desired climax was to refuse the pound of flesh with a gesture of divine compassion. When the verdict goes against him, he is crushed
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With the aid of a small sum of money from his distant relative the Chief Rabbi, Adler got together the money to travel by steerage to New York, with his infant son Abrom, Alexander Oberlander and his family, Keni and Volodya Liptzin, and Herman Fiedler, among others. Adler did not doubt that the
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in 1916–1919, and briefly resumed in 1925 in an unsuccessful revival of that paper; his granddaughter Lulla Rosenfeld's English translation was published only in 1999. The 1916–1919 portion of the memoir gives a detailed picture of his Russian years. The 1925 portion gives a comparably detailed
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mentions all these children except Florence at least in passing (they are listed in the index, and their relation to him is identified there), but except for Frances and Stella, mentioned in a note on p.230, the book is not explicit that they are Sara's children. The entries for Sara Adler
1268:, the first purpose-built Yiddish theater in New York. His wife Sara had branched out to do her own plays at the Novelty Theater in Brooklyn, and the family had taken up residence in a four-story brownstone, with an elevator, in the East Seventies. (They would later move one more time, to
452:, a peddler; his memoir hints at back-door assignations with "servant girls and chambermaids"; by his own description, his life at this point was just a step from a life of crime. Through his uncle Arke, "a hot theater lover", he became interested in the theater, at first in the beauty of
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p.349 quotes this review: "A striking and original conception, wrought out not only of careful study, but above all from a racial sympathy, an instinctive appreciation of the deeper motives of this profound and complex character." Several other reviews, favorable and unfavorable, are
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This golden age was not to last. The years 1905–1908 saw half a million new Jewish immigrants to New York, and once again the largest audience for Yiddish theater was for lighter fare. Adler hung on, but the Thomashefskys were making a fortune at the Thalia; plays with titles like
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Returning to Odessa, he got a job distributing newspapers. This respectable work required getting up at 6 a.m., not good for a carouser. Still, newspaper connection meant that he soon heard of one of the war's other effects: the many Jewish merchants and middlemen war brought to
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they wrangled over ideology and over parts, and their verbal duels boiled over into improvised stage dialogue. The Grodners ultimately left to do theater in a series of other locations, notably Paris, but eventually came back to London, where Israel Grodner died in 1887.
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around 1862. He played hooky; as a 12-year-old he started going to witness public floggings, brandings, and executions of criminals; later he would develop more of an interest in attending courtroom trials. At 14 he began working in a textile factory, and soon rose to a
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party: Adler considered him one of the best actors in Yiddish theater, a great asset to any performances they would give in London, while he felt Rosenberg lacked depth as an actor. He tried to get Rosenberg to come with them to London, but Rosenberg would not budge.
833:, but nothing could have been farther from the rabbi's desires than to assist Yiddish-language theater. Nathan Marcus Adler viewed Yiddish as a "jargon" that existed at the expense of both liturgical Hebrew and the English necessary for upward mobility, and his
609:), set in 19th-century Russia. On the other, until his 50s, he was not hesitant to take advantage of his prowess as a dancer, and even occasionally took on roles that called for some singing, although by all accounts (including his own) this was not his forte.
2219:, April 29, 1953, p. 29), mentions Luther, Stella, Frances, Julia, and "Jack" (presumably Jay) as surviving children by Adler; plus stepsons "Adolph" (presumably Abe) and Charles and stepdaughter Celia; plus her sons Joseph and Max Heine by a former marriage.
493:. He writes that he would have become a Brody singer, like Grodner, except "I had no voice". This lack of a singing voice would be a major factor in the direction of his acting career: according to Rosenfeld, although Yiddish theater was long dominated by
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played, at a memorial for Goldfaden in 1912. Lamenting the choice of play for the memorial—"Goldfaden has written better things"—he nonetheless acknowledges, "that same bitter Shmendrick was our livelihood... I gritted my teeth. I called on the ghosts of
699:. Around this time Goldfaden appeared again and, after using an elaborate intrigue to demonstrate to the Adlers that Rosenberg had no loyalty to them, recruited them to his own troupe, which at the time appeared to be headed for a triumphant entry into
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Lulla Rosenfeld's remark that Adler "...rel entirely on classics and translations of modern European plays" does not quite tell the whole story. On one hand, he was also responsible for recruiting the Yiddish theater's first naturalistic playwright,
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The troupe were left stranded in Riga. Chaikel Bain took ill and died. With some difficulty, passage to London for the troupe was arranged on a cattle ship, in exchange for entertaining the crew. However, about this time Israel Grodner and his wife
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Late in life, when he looked back at his years acting in Adler and Goldfaden's companies, Adler saw it as merely the "childhood" of his career. He describes his thoughts toward the end of this period, "For three years I had wandered in the cave of
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camped in the courtyards awaiting performances. Even the police seemed to have "fallen in love" with the troupe, dressing up the actors in their uniforms at riotous parties after shows, while trying on the troupe's costumes themselves.
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as looking as if they "had come out of their mothers already gray and old." Of his early London years, he writes, "We played for a tiny audience, on a stage the size of a cadaver, but we played well, with a drunkenness of happiness."
751:, under an incompetent investor/director named Hartenstein. They thought they had found "a quiet corner" of the Russian Empire in which "to make a bit of a livelihood", but in fact Hartenstein was simply running through his money.
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because he has been robbed of this opportunity, not because he lusts for Antonio's death. This was my interpretation. This is the Shylock I have tried to show." After his two Broadway triumphs, Adler returned to Yiddish theater.
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Of his time in London, Adler wrote, " if Yiddish theater was destined to go through its infancy in Russia, and in America grew to manhood and success, then London was its school." Adler arrived in London with few contacts. In
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Adler was not content to continue long in this mode, and sought a playwright who could create pieces that would appeal to the Jewish public, while still providing a type of theater he could be proud to perform. He recruited
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Returning to Odesa, he discovered that no one would employ him in any job other than as an actor. In 1882, he put together a troupe of his own with Keni Liptzin, and brought Rosenberg in as a partner. This troupe toured to
394:. She became estranged from her family after divorcing her first husband (and leaving behind a son) to marry Adler's father. The marriage to a divorcée cost Feivel Adler (and therefore Jacob Adler) his status as a
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and improvisational actor who would soon become one of the founders of professional Yiddish theater. A song of Grodner's about an old father turned away by his children would later be the germ of the idea for
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review of Adler's performance was not favorable: in particular his naturalistic acting style was not what audiences of the period expected in a production of Shakespeare. Some other reviews (such as that in
730:. The troupe managed to avoid bodily harm, partly by convincing the rioters that they were a French theater troupe and partly by making judicious use of the money the Adlers had won in court from Goldfaden.
1152:. Frequently the works of the great contemporary playwrights—even Shaw, who was writing in English—would be staged in New York in Yiddish years, even decades, before they were ever staged there in English.
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return to performing in New York. Adler was so insulted that the two did not speak for months, even though at the time they were living across a courtyard from one another, and could see into each other's
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and Chicago, where word arrived of an opportunity to take over Poole's, Heine having moved on to the Thalia. Adler returned to New York, where he managed also to win Mogulesko and Kessler away from Heine.
710:. The mourning for the tsar meant there would be no performances in the capital; in addition the political climate of Russia turned sharply against the Jews. Goldfaden's troupe soldiered on for a time—to
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Adler aspired to be an actor, but found himself at first serving the troupe more as critic and theoretician, making use of his now-vast knowledge of Russian theater. The first productions (Goldfaden's
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county school, pulled out of school entirely, or have a private tutor for a few months. He wrote that "the sum of my learning was a little arithmetic, some Russian grammar, and a few French phrases."
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York that autumn, where she managed to sign on at the Romanian Opera House; failing to find a similar situation for himself, he returned to London, drawn back to the charms of both Dinah and Jennya.
1333:": the character is "a sick and broken man", so the Adler was able to integrate his own physical weakness into the portrayal. However, March 31, 1926, he collapsed suddenly, dying almost instantly.
821:, the center of Jewish London at that time, he encountered extremes of poverty that he describes as exceeding any he had ever seen in Russia or would ever see in New York. The Chief Rabbi of the
665:. He overstayed his leave, lost his government post, and the decision to become a full-time actor was effectively made for him. Adler was unhappy that under Tulya Goldfaden there were "No more
925:, which introduced Schiller into Yiddish theater. On at least one occasion in 1886, he played both Franz Moore and the play's hero, Franz's brother Karl Moore: in the play they never meet.
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a belated apprenticeship with two Russian character actors of national fame, Borisov and Philipovsky. However, he returned to Odesa thinking that he would most likely leave theater behind.
685:. When this particular troupe broke up, the Adlers were among the few players to remain with Rosenberg to form a new one that included the actress who later became famous under the name of
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patients. In his four months there, he became a favorite with the established Jewish families there, and earned a Gold Medal for Outstanding Achievement for his brief service to the Tsar.
467:, was working as a copyist for lawyers, and going out to a theater, a tavern, or a party every night. He would later draw on his own life at this time for his portrayal of Protosov in
960:, which was under Austrian rule, he returned to London in the spring of 1889, and then again to New York, this time to play for Heine at Poole's Theater. After an initial failure in
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Adler led an unsuccessful actors' strike. A series of intrigues almost led to a breakup with Sonya, but ultimately led both back into Rosenberg's troupe and led to their marriage in
621:(and of her family) for theater, and their vision of what Yiddish theater could become, kept him in the profession despite his uncle's view. When she was cast by Rosenberg opposite
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588:) were popular successes, but Adler's own account suggests that they were basically mediocre, and his Uncle Arke was appalled: "Is this theater? No my child, this is a circus."
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His and Sonya's daughter Rivkah (Rebecca) died at the age of 3. Sonya died from an infection contracted while giving birth to their son Abram in 1886. Abram's son
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in the clown's rags of Shmendrick and what did I really know of my trade?... If someday I return to the Yiddish theater, let me at least not be so ignorant."
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as an organized system of ideas, he probably knew little or nothing." His education was irregular: as the family fortunes rose and fell, he would be sent to
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nearly ended his acting career, although he continued to appear occasionally, usually as part of a benefit performance for himself, often playing Act I of
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Over the next decades, Adler would play in (or, in some cases, merely produce) numerous plays by Gordin, but also classics by Shakespeare, Schiller,
401:
Adler grew up with one foot in a traditional Jewish world and one in a more modern, European one. His granddaughter Lulla Rosenfeld writes, "Of the
1321:: the title character remains seated throughout the entire act. In 1924, he was well enough to perform in the title role of a revival of Gordin's
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His success in the role was cut short by the news that Goldfaden, whose plays they were using without permission, was coming with his troupe to
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1381:. While still married to Sonya, Adler had an affair with Jenny "Jennya" Kaiser, with whom he had a son, stage actor Charles Adler (1886–1966).
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at Moishe Finkel's National Theater, the Union Theater temporarily to abandon its highbrow programming and competed head on, with operettas
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soon started a company of his own, ushering in a new, more serious Yiddish theater, most notably by recruiting the Yiddish theater's first
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Renaming Poole's as the Union Theater, Adler attempted to produce the most serious Yiddish-language theater New York had yet seen in the
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were present, and both, especially the younger rabbi, were favorably impressed. There were even mentions in the English-language press.
722:, where he and Sonya ended up having to sue Goldfaden for their pay, and left to rejoin Rosenberg, who was playing in a tent theater in
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shares, no more idealistic comradeship". Still, under this same Goldfaden regime he had his first taste of real stardom when people in
747:, the first of a series of roles through which he developed a persona he would later call "the Grand Jew". After Łódź, they landed in
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rabbi was glad to see Yiddish actors leaving London. In New York, they promptly discovered that neither Mogulesko and Finkel at the
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a month, which would have been decent even for an adult. Still living at home, he began to frequent the disreputable district of
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1041:, already a well-respected novelist and intellectual, recently arrived in New York and eking out a living as a journalist at the
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In a small essay, "Shmendrick, My Mephistopheles", one of the last passages he wrote, Adler describes the last time he saw
564:, scion of a wealthy Jewish family—had become actors there, then had left Goldfaden to found their own company, touring in
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524:, an assistant in the Red Cross Medical Corps. He was selected (apparently on little more than his appearance) by Prince
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964:(he writes that the New York audience of the time was not ready for "tragicomedy"), he was a success in the melodrama
787:). Aiming to bring the troupe to Saint Petersburg, they brought back their sometime manager Chaikel Bain. They were in
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from right: Jacob P. Adler, Zigmund Feinman, Zigmund Mogulesko, Rudolf Marx, Mr. Krastoshinsky and David Kessler, 1888
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Adler's affair with Jennya continued; he also took up with a young chorus girl from an Orthodox Jewish family,
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841:"; further, he was afraid that the portrayals of Jews on stage would give aid and comfort to their enemies.
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1418:, Sarah's daughter, became a Broadway actress, who also appeared in films. He was the great-uncle of actor
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in August 1883 when the news arrived that a total ban was about to be placed on Yiddish theater in Russia.
501:, "He was the only Yiddish actor to rely entirely on classics and translations of modern European plays."
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wrote a piece saying that Yiddish theater in New York had eclipsed English-language theater in quality.
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One of Adler's roles from this period was as the villain Franz Moore in Herman Fiedler's adaptation of
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2211:) list her as the mother of these six, but also incorrectly list her as Charles Adler's mother. Her
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of proportion to the meagre money. Many of the most prominent figures in Yiddish theater, including
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By his own account, Adler took a leave of absence from his job to travel with Rosenberg's troupe to
390:. His mother, née Hessye Halperin, was a tall, beautiful woman, originally from a wealthy family in
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In 1919–1920, Adler, despite his own socialist politics, found himself in a labor dispute with the
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In writing about this period in his memoir, Adler mentions attending and admiring performances by
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pp.284–299. Adler does not refer to "Jennya" by name, but translator/commentator Rosenfeld does.
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Adler writes vividly and with humor. He describes the director Hartenstein as "a young man from
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His sister Sarah/Soore Adler and her seven children emigrated to New York in 1905. His niece,
460:'s clothes, but he had the good fortune to be in one of the great theater cities of his time.
1288:(1909). It would be 1911 before Adler scored another major success, this time with Tolstoy's
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magazine) were friendlier; in any event the same production was revived two years later.
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876:". The piety of the London Jews was such that they had to use an (unplayable) cardboard
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2176:. Adler does not refer to "Jennya" by name, but translator/commentator Rosenfeld does.
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A photograph of Adler as Shylock in a late 19th century performance of Shakespeare's
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Adler's memoirs were published in the New York socialist Yiddish-language newspaper
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were commercial failures—so much so that Mogulesko and Kessler quit the company—but
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Nearly all his family went into theater; probably the most famous was his daughter
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912:(the future Sara Adler), gave guest performances when they passed through London.
861:. Adler starred in it, in a role he would continue to play throughout his career.
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Adler managed to leverage a recommendation from Prince Meshersky and another from
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He grew up with both Jewish and Christian playmates, but also survived one of the
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on the Yiddish stage at the People's Theater, he played the role again in a 1903
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386:). Adler's father, Feivel (Pavel) Abramovitch Adler, was a (rather unsuccessful)
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Resting Places: The Burial Sites of More than 14000 Famous Persons, Scott Wilson
638:, she pulled strings so that the role of Guberman would be reassigned to Adler.
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2277:"The Sunshine Boys lights up Connecticut stage…with two veteran Jewish actors"
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829:, was a relative. Adler's father had written him a letter of introduction in
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30:"Jacob Adler" redirects here. For the economics and business professor, see
2529:"The Jacob P. Adler Family Photograph Collection, 1870s–1930s, Finding Aid"
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of young men. At his family's urging, Adler bribed his way into becoming a
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Theatre to an audience of 500, including the "Jewish aristocrats of the
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Besides the abovementioned "I had no voice" remark, see Stefan Kanfer,
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726:. However, matters there proved even worse: Nizhyn soon fell prey to a
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1013:. However, after Thomashefsky became an enormous popular success in
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Russia-born British, and American Yiddish-language actor (1855–1926)
989:
772:
748:
715:
630:
565:
498:
402:
647:(For greater detail on Adler's time with Rosenberg's company, see
556:'s nascent Yiddish theater there. Two of his Odessa acquaintances—
351:
would form the core of the persona he defined as the "Grand Jew".
1218:
1156:
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682:
659:, where he made a successful acting debut as the lover Marcus in
656:
568:. Adler wrote them to urge them to bring their troupe to Odessa.
537:
468:
442:
383:
348:
343:), set in 19th-century Russia, which along with his portrayal of
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956:
He did not remain long in London. After some major successes in
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Adler wrote in his memoir that the passion of his future wife
601:, and he scored a great triumph in the title role of Gordin's
58:
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solidified this change in the direction of Yiddish theater.
929:
711:
642:
395:
333:. Adler scored a great triumph in the title role of Gordin's
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Ukraine, Moldova, Belarus, Poland, Lithuania, Latvia, Russia
433:. His first brush with stardom was that he briefly became a
2204:
788:
2473:"The Great Eagle: great Yiddish actor-legend, Jacob Adler"
1391:
He and Sara Heine had six children: the well-known actors
1309:; he played that season in London rather than New York. A
1375:(1916–1964) was, among other things, the screenwriter of
1027:
Titus Andronicus, or the Second Destruction of the Temple
287:
1790:
1788:
2585:
Emigrants from the Russian Empire to the United Kingdom
884:. Chief Rabbi Adler and his son and eventual successor
1785:
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rather than revenge. He wishes to humble and terrify
718:
where they played mainly to Russian soldiers, and to
2300:
2298:
2251:"Jerry Adler Is In Transitions -- And 'Transparent'"
1620:
1618:
2492:Prager, Leonard (November 6, 1997). "Shakespeare's
2079:
2077:
2436:
2354:. Translated by Lulla Rosenfeld. New York: Knopf.
2347:
2215:obituary ("Sarah Adler Dies; Yiddish Stage Star",
1442:with long hair and short brains, half educated in
2519:Rosenfeld, Lulla (June 12, 1977). "The Yiddish".
2295:
1615:
1364:(m. 1887- divorced. 1891) and finally to actress
1177:while the rest of the cast spoke in English. The
2546:
2074:
1446:, and half an actor", and refers to the poor of
706:All that changed with the assassination of Tsar
2438:"Yiddish Shylock Viewed From Ghetto Standpoint"
1586:. Stella Adler Studio of Acting. Archived from
1173:. In this production, Adler spoke his lines in
1517:
1515:
1120:; and the works of modern playwrights such as
857:, a tragicomic play written on the eve of the
737:, Adler triumphantly played the title role in
1730:
1728:
1344:He is buried in Old Mount Carmel Cemetery in
301:, and later in London and in New York City's
2590:American people of Ukrainian-Jewish descent
1512:
286:; February 12, 1855 – April 1, 1926) was a
38:. For the Yiddish writer and humorist, see
1725:
1505:
1503:
57:
2518:
2454:Shakespeare on the American Yiddish Stage
2451:
2119:pp.230 (commentary), 372–378 (commentary)
1384:Adler and Dinah Shtettin had a daughter,
2499:Mendele: Yiddish literature and language
2479:. published online at Jewish-Theatre.com
1537:
1535:
1533:
1531:
1529:
1527:
1399:(1901–1992) and the lesser-known actors
1356:Adler was married three times, first to
1335:
1239:
1075:
988:
928:In 1886, Adler's daughter Rivka died of
807:
504:
463:At 17 he became the leader of Glebova's
266:
2470:
2456:. Iowa City: University of Iowa Press.
1500:
1284:were far outdrawing fare like Gordin's
159: 1880; died 1886)
14:
2547:
2491:
369:
2364:. Commentary by Lulla Rosenfeld.
2345:
1524:
1313:in 1920 while vacationing in upstate
1217:apartments. Adler decided to perform
942:
2605:Male actors from the Russian Empire
2145:pp. 152–154, 261, 294–295, 314, 323
24:
409:(Jewish religious school) or to a
282:: יעקבֿ פּאַװלאָװיטש אַדלער; born
25:
2616:
2410:
2382:
968:, and "a more worthy success" in
677:Unsatisfied with the low pay, in
34:. For the German theologian, see
2404:Dictionary of National Biography
2061:"Yiddish Shylock Viewed..." 1903
1734:Lulla Rosenfeld, "The Yiddish",
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448:He left the factory, becoming a
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2502:. Vol. 07. Archived from
2230:"Theater Hall of Fame members"
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1563:
1554:
1541:
1491:
1298:), translated into Yiddish by
1001:, with plays such as Scribe's
13:
1:
2471:Nahshon, Gad (October 2001).
2350:A Life on the Stage: A Memoir
2339:
1805:The Yiddish Theater’s Triumph
1409:American Theater Hall of Fame
580:Grandmother and Granddaughter
2432:Accessed September 29, 2006.
1256:built in what was to be the
1189:Lulla Rosenfeld writes that
1049:. Gordin's first two plays,
864:Two months later, he played
560:, a personable con-man, and
526:Vladimir Petrovich Meshersky
425:job there at a salary of 10
7:
2595:Jewish American male actors
2477:The Jewish Post of New York
2447:. May 31, 1903. p. 10.
1810:September 27, 2011, at the
1470:
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36:Jacob Georg Christian Adler
10:
2621:
2600:Yiddish theatre performers
2421:Internet Broadway Database
2374:: CS1 maint: postscript (
2201:Internet Broadway Database
1612:p. 33 for status as Kohen.
1481:, 1906 play starring Adler
1069:. The next year, Gordin's
29:
2570:People from Odessky Uyezd
1881:pp. 172−179, 189, 192–197
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1358:Sophia (Sonya) Oberlander
1351:
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249:
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133:
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117:
109:
90:
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2452:Berkowitz, Joel (2005).
1580:"Stella Adler biography"
1485:
1258:Yiddish Theater District
1248:, some time before 1906.
1233:and the Gordin original
1169:production, directed by
999:Yiddish Theater District
906:Abba and Clara Shoengold
303:Yiddish Theater District
2536:library.hunter.cuny.edu
1569:, pp. 200–209, 321–325.
1015:Moses Halevy Horowitz's
603:Der Yiddisher King Lear
573:Avrom Markovich Brodsky
335:Der Yiddisher King Lear
2565:Male actors from Odesa
2494:The Merchant of Venice
1403:(1896–1978), Frances,
1341:
1282:Minke the Servant Girl
1252:In 1904 Adler had the
1249:
1162:The Merchant of Venice
1085:
994:
855:The Ragpicker of Paris
813:
540:, dealing mainly with
272:
2580:Jewish Russian actors
2417:Jacob Pavlovich Adler
2346:Adler, Jacob (1999).
2197:Jacob Pavlovich Adler
1463:, of Shakespeare, of
1360:(died 1886), then to
1339:
1319:The Yiddish King Lear
1243:
1224:The Power of Darkness
1112:Alexandre Dumas, fils
1079:
1062:The Yiddish King Lear
1023:Judith and Holofernes
992:
811:
662:The Witch of Botoşani
625:in the title role of
516:brought on universal
491:The Yiddish King Lear
276:Jacob Pavlovich Adler
270:
51:Jacob Pavlovich Adler
2025:pp. 299–301, 305–309
2016:pp. 292–293, 300–304
1547:pp.98–102, 108, 114
1307:Hebrew Actors' Union
1272:.) Around this time
1100:; dramatizations of
1009:, and Sinckievich's
950:Romanian Opera House
607:The Jewish King Lear
512:The outbreak of the
340:The Jewish King Lear
184: 1887;
40:Jacob Adler (writer)
1205:In the wake of the
993:Jacob Adler in 1902
859:Revolutions of 1848
827:Nathan Marcus Adler
779:, to Dünaburg (now
370:Childhood and youth
2523:. pp. 25, 32.
2521:The New York Times
2444:The New York Times
2315:p.309 (commentary)
1590:on August 29, 2006
1416:Francine Larrimore
1342:
1286:Dementia Americana
1250:
1086:
1082:Merchant of Venice
995:
974:Boris Thomashefsky
825:at that time, Dr.
814:
374:Adler was born in
362:to, among others,
273:
259:Francine Larrimore
2538:. Hunter College.
2385:The Art of Acting
2257:. August 28, 2017
1675:Yankele Kulachnik
1291:The Living Corpse
1260:at the corner of
1159:in Shakespeare's
1138:Gerhart Hauptmann
1102:George du Maurier
962:The Odessa Beggar
943:Coming to America
898:Sigmund Mogulesko
847:The Odessa Beggar
635:Breindele Cossack
627:Abraham Goldfaden
623:Jacob Spivakovsky
562:Jacob Spivakofsky
554:Abraham Goldfaden
514:Russo-Turkish War
474:The Living Corpse
439:Yankele Kulachnik
265:
264:
126:Years active
76:February 12, 1855
16:(Redirected from
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1395:(1903–1984) and
1378:Forbidden Planet
1346:Glendale, Queens
1274:Lincoln Steffens
1215:St. Mark's Place
1146:Victorien Sardou
1043:Arbeiter Zeitung
1031:Hymie in America
1007:Samson the Great
835:Orthodox Judaism
701:Saint Petersburg
649:Israel Rosenberg
629:'s darkly comic
619:Sonya Oberlander
558:Israel Rosenberg
411:Russian language
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110:Other names
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1294:(also known as
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1067:Joseph Lateiner
1045:, precursor to
1019:David ben Jesse
987:
966:Moishele Soldat
945:
880:so as to avoid
806:
615:
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552:were a boon to
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456:and the cut of
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295:Yiddish theater
284:Yankev P. Adler
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823:British Empire
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2496:in Yiddish".
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102:New York City
94:April 1, 1926
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63:Adler in 1920
60:
55:
48:
45:
41:
37:
33:
19:
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2535:
2520:
2508:. Retrieved
2504:the original
2498:
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2481:. Retrieved
2476:
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2394:1-557-833737
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2311:
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2254:
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2233:. Retrieved
2224:
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2012:
2003:
1994:
1985:
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1816:City Journal
1815:
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1656:
1651:pp.13–14, 30
1647:
1638:
1629:
1609:
1604:
1592:. Retrieved
1588:the original
1583:
1574:
1565:
1556:
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1521:Nahshon 2001
1493:
1476:
1465:Lope de Vega
1461:Aristophanes
1455:
1453:
1437:
1431:
1429:
1413:
1397:Stella Adler
1390:
1383:
1376:
1370:
1355:
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1323:The Stranger
1322:
1318:
1304:
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1266:Canal Street
1251:
1235:The Homeless
1234:
1230:Resurrection
1228:
1222:
1211:
1204:
1194:
1191:Henry Irving
1188:
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1071:The Wild Man
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1039:Jacob Gordin
1035:
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978:Philadelphia
970:Uriel Acosta
969:
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866:Uriel Acosta
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838:
815:
793:
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744:Uriel Acosta
742:
739:Karl Gutzkow
732:
708:Alexander II
705:
694:
687:Keni Liptzin
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599:Jacob Gordin
595:
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532:hospital in
521:
518:conscription
511:
505:
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486:Brody singer
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454:Olga Glebova
449:
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423:white collar
415:
406:
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373:
353:
338:
334:
331:Jacob Gordin
329:playwright,
317:
313:
309:
307:
293:and star of
283:
275:
274:
96:(1926-04-01)
44:
2560:1926 deaths
2555:1855 births
2426:Jacob Adler
2101:pp.359, 361
2043:pp. 316–321
2034:pp. 309–315
1962:pp. 239–246
1953:pp. 232–236
1845:pp.107, 111
1794:pp. 321–325
1673:, p.29 for
1560:pp.232–321.
1448:Whitechapel
1432:Die Varheit
1420:Jerry Adler
1386:Celia Adler
1373:Allen Adler
1340:Jacob Adler
1331:Enoch Arden
1300:Leon Kobrin
1142:Victor Hugo
1047:The Forward
922:The Robbers
819:Whitechapel
812:Jacob Adler
667:communistic
495:vaudevilles
437:, known as
345:Shakespeare
308:Nicknamed "
297:, first in
254:Allen Adler
18:Jacob Adler
2575:Odesa Jews
2549:Categories
2483:October 1,
2340:References
2333:pp.365–367
2235:January 9,
2154:pp.284–286
1998:pp.282–283
1980:pp.248–251
1926:pp.222–225
1908:pp.218–220
1899:pp.215–216
1890:pp.200–209
1872:pp.168–170
1863:pp.138–157
1827:pp. 98–102
1778:pp.76–97,
1669:pp.19–22;
1456:Shmendrick
1366:Sara Adler
1296:Redemption
1134:Strindberg
1057:Two Worlds
910:Sara Heine
878:ram's horn
851:Felix Pyat
781:Daugavpils
679:Kremenchuk
585:Shmendrick
450:raznoschik
431:Moldovanka
320:being the
256:(grandson)
199:Sara Adler
118:Occupation
2370:cite book
2287:April 23,
2261:April 23,
1765:pp.71–73
1747:pp. 43–53
1497:p.xxiii,
1017:operetta
1011:Quo Vadis
882:blasphemy
777:Lithuania
775:, around
761:the Witch
691:Chernihiv
550:Bucharest
499:operettas
392:Berdichev
327:realistic
250:Relatives
129:1878–1924
2174:et. seq.
1944:, p. 256
1808:Archived
1713:pp.32–35
1686:pp.22–24
1551:222–225.
1549:et. seq.
1471:See also
1327:Tennyson
1315:New York
1167:Broadway
1098:La Juive
1003:La Juive
985:New York
917:Schiller
874:West End
773:Taganrog
749:Zhytomyr
716:Bobruisk
671:Chişinău
631:operetta
566:Moldavia
445:dancer.
223:Children
2419:at the
2402:Oxford
2305:passim.
2255:Showriz
2199:at the
2172:p. 291
2139:passim.
2071:quoted.
1769:, 84–85
1767:et.seq.
1440:Galicia
1219:Tolstoy
1199:Antonio
1184:Theater
1175:Yiddish
1157:Shylock
1117:Camille
1090:Lessing
1052:Siberia
870:Holborn
868:at the
839:in vain
797:Annetta
720:Vitebsk
683:Poltava
657:Kherson
538:Moldova
522:sanitar
506:Sanitar
469:Tolstoy
443:can-can
403:haskala
384:Ukraine
349:Shylock
280:Yiddish
261:(niece)
216:
208:
204:
190:
178:
174:
161:
153:
149:
134:Spouses
2460:
2391:
2358:
2141:, but
2083:p. 350
1782:82, 96
1642:pp.6–7
1624:p.xxiv
1444:Vienna
1426:Memoir
1393:Luther
1352:Family
1311:stroke
1262:Bowery
1148:, and
1107:Trilby
1029:, and
958:Warsaw
908:, and
831:Hebrew
804:London
785:Latvia
769:Rostov
728:pogrom
724:Nizhyn
542:typhus
534:Bender
530:German
465:claque
427:rubles
407:cheder
376:Odessa
356:Stella
322:German
299:Odessa
288:Jewish
244:Luther
240:Stella
104:, U.S.
80:Odessa
2532:(PDF)
2185:p.312
2163:p.386
1917:p.218
1854:p.124
1671:ibid.
1610:ibid.
1486:Notes
1405:Julia
1195:pride
1126:Ibsen
1122:Gorky
930:croup
849:from
712:Minsk
689:. In
643:Odesa
435:boxer
396:Kohen
382:(now
318:Adler
312:", ("
291:actor
236:Julia
228:Celia
210:(
206:
180:(
176:
155:(
151:
121:Actor
2512:2006
2485:2006
2458:ISBN
2430:IMDb
2389:ISBN
2376:link
2356:ISBN
2289:2019
2263:2019
2237:2024
2207:and
2205:IBDb
2143:esp.
1780:esp.
1722:p.36
1704:p.32
1660:p.19
1596:2006
1329:'s "
1264:and
1244:The
1130:Shaw
1110:and
1055:and
789:Riga
735:Łódź
582:and
497:and
484:, a
186:div.
91:Died
69:Born
2428:at
2217:NYT
2203:at
1401:Jay
1221:'s
1104:'s
1096:'s
919:'s
853:'s
741:'s
733:In
471:'s
347:'s
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232:Jay
2551::
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2372:}}
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