{"id":1324,"date":"2018-03-26T15:36:00","date_gmt":"2018-03-26T20:36:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1324"},"modified":"2023-05-12T15:38:53","modified_gmt":"2023-05-12T20:38:53","slug":"sholem-asch-at-the-end-of-the-world","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/sholem-asch-at-the-end-of-the-world\/","title":{"rendered":"Sholem Asch at the End of the World"},"content":{"rendered":"\n

SHOLEM ASCH BELONGS to those Yiddish authors who often defy rather than obey the conventions of Yiddish culture and Jewish sensibilities. Yet, his works have traveled the world, following Jewish immigrants and spreading the Yiddish culture, blending it with local concerns and interests. They traveled as far as Australia, where many Jewish immigrants found their home. The production and reception of his works in Australia can serve as a prism through which we can better understand the Australian Yiddish stage. For the most part, records related to Sholem Asch\u2019s presence in Australia are found in the Australian Jewish press, and focus on the acquisition of his works by local Jewish communities, meetings of literary groups, or reviews of his books. From these snippets of information one may gather that Asch\u2019s Australian presence was more literary\u2013read, recited, and discussed\u2013than staged. Indeed, there are not many records of theatrical productions of his works, although it is clear from various accounts that Asch was a significant part of the story of Yiddish theatre in Australia.<\/p>\n\n\n\n

From the outset, Jewish immigrants to Australia knew they would not be going back \u201chome,\u201d especially those fleeing the rise of Nazism, and, later, those who survived the Holocaust. These immigrants were determined to build new lives in Australia, in spite of the anti-refugee sentiments and antisemitic attitudes, which were common at the time. They spoke Yiddish, Polish, German, and Hungarian, and they brought with them culture in these languages, such as poems, songs and recipes, as well as the desire to recreate fragments of their old worlds in their new home. Yiddish journals published regularly by most synagogues and Jewish societies, newspapers and literary magazines, theatres, restaurants, and schools helped establish Yiddish culture in Australia, particularly in Melbourne.<\/p>\n\n\n\n

While the Yiddish theatre has always been a family affair and a people\u2019s theatre\u2013with audiences tending to favor such genres as melodrama and musical comedy\u2013more prestigious works, including Jewish classics, were indispensable to fulfill the theatre\u2019s mission as a cornerstone of Yiddish culture and an essential element of Jewish life in Australia. This felt particularly important \u201cin that little shtetl in ek velt\u201d\u2013a shtetl at the end of the world, as the members of the Jewish community in Melbourne called their suburb, Carlton.1 In fact, it must have been the expectation that the ambitious repertoire, which included the works of Asch as well as Levinson, Jacob Gordin, Dovid Pinski, Sholem Aleichem, I.L. Peretz, and S. An-sky, would have been able to both recreate the world left behind, and express new perspectives.<\/p>\n\n\n\n

It was within this rich cultural, Australian Jewish life that Asch\u2019s works featured regularly. In 1937, The Sydney Morning Herald reported that Sydney\u2019s Jewish Youth Theatre League was meeting to discuss and read Asch\u2019s short stories, and described Asch as one of the great contemporary Jewish artists. In 1950, the South Coast Times and Wollongong Argus advertised The Apostle, \u201ca \u2018magnificent\u2019 novel\u201d that was, noted the ad, available for sale by local news agents. In 1952, The Hebrew Standard of Australasia announced a symposium by the Jewish Library Association revolving around a discussion of Asch\u2019s latest book, Moses. The examples are numerous and point to Asch\u2019s Australian literary presence. His theatrical contributions seem to be missing and this lack of coverage occludes what seems to be a rich presence of Asch\u2019s theatrical works in Australia.
<\/p>\n\n\n

\n
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Front cover of Arnold Zable\u2019s\u00a0Wanderers and Dreamers: Tales of the David Herman Theatre<\/em>\u00a0(South Melbourne: Hyland House, 1998). This is a bilingual English\/Yiddish book. The English reads from one cover and the Yiddish from the other cover. The Yiddish section was written by Moshe Ajzenbud.<\/figcaption><\/figure>\n<\/div>\n\n\n

Yiddish theatre in Australia dates back to the start of the twentieth century, when amateur Yiddish actors\u2013\u201cwanderers and itinerants, troubadours and minstrels\u201d as Arnold Zable<\/a> calls them\u2013first arrived. Among them were Chaim Reinholtz, who arrived in about 1892, Samuel Weisberg (1908), his brother in-law Reuben Finkelstein (1911), and David Reizin (1912). They formed a Yiddish theatre club and then a troupe that performed at Melbourne\u2019s Kadimah<\/a>. With new Jewish immigrants arriving from Poland in the 1920s came professional actors such as Jacob (Yankev) Ginter<\/a>, later dubbed by his colleagues \u201cthe pioneer of a high quality Yiddish theatre in Australia.\u201d Post-World-War-II Yiddish-speaking immigrants further developed Australian Yiddish theatre and culture, with Melbourne becoming, as Freydi Mrocki observed, \u201cthe jewel in the Yiddish world\u2019s crown.\u201d2<\/sup><\/a><\/p>\n\n\n\n

In Melbourne<\/a>, Ginter joined Mordechai Schechter, an actor from Che\u0142m<\/a> who ran the Kadimah drama group and staged a variety of works adapted from Yiddish literature. In 1927, Ginter established the Di yidishe bine<\/em> in Melbourne, which was later named after the renowned Polish-Jewish director, David Herman. Ginter, who, according to Zable, \u201cinsisted on producing classics,\u201d started with Sholem Aleichem and Jacob Gordin, and staged over thirty plays from the literary Yiddish repertoire.<\/p>\n\n\n\n

In 1929, Ginter produced Sholem Asch\u2019s Undzer gloybn<\/em> (Our Belief<\/em>, 1914), collecting money for Yiddish day\u2010schools in Poland. Five years later, in collaboration with the local writer Pinchas Goldhar<\/a>, Ginter staged an adaptation of Asch\u2019s novel about immigrant life, Onkl mozes<\/em> (Uncle Moses<\/em>, 1918). Not only was it \u201cthe first original Yiddish theatre script penned in Australia,\u201d as Zable points out, but it was a story that provided immigrants with \u201cinsights into their new way of life.\u201d<\/p>\n\n\n\n

In 1935, Ginter directed Asch\u2019s\u00a0Got fun nekome<\/a><\/em>\u00a0(God of Vengeance<\/em>, 1907), and was joined a year later by his brother, the professional actor Nathan Ginter, who directed\u00a0Motke ganev<\/em>\u00a0(Motke the Thief<\/em>, 1917). The\u00a0Oystralish-yidisher almanakh<\/a><\/em>\u00a0(Australian Yiddish Almanac, 1937), records Nathan Ginter\u2019s staging Asch together with two or three other productions in 1936. However, the available review of his\u00a0Motke ganev<\/em>\u00a0comes from 1941, when he directed the work and produced it with\u00a0Rokhl Holzer<\/a>\u00a0and Jacob (Yankev) Waislitz. The reviewer, George Tryster (The Australian Jewish News<\/em>), focused mostly on the plot and did not say much about the production, except for praising the excellent acting of Mr. and Mrs. Ginter and Miss Levita.<\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
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\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Program of the David Herman Theatre production of Motke ganev<\/em>, courtesy of the Kadimah Jewish Cultural Center and National Library, Kadimah David Herman Theatre and Events Programs, http:\/\/www.kadimah.org.au\/Archive<\/a>.<\/figcaption><\/figure>\n\n\n\n

Also in 1936, Israel Rothman produced Asch\u2019s Mitn shtrom<\/em> (With the Stream<\/em>, 1904) with the Kadimah drama group, and staged the same play in Sydney, between 1930 and 1932 on the invitation of the Jewish Club. Yet Rothman\u2019s engagement with Asch in Australia started even earlier, most likely in 1928 in Brisbane. Rothman had come to Brisbane in 1924 and created a Yiddish amateur group and a literary circle. Asch\u2019s work was featured both on stage and during the literary evenings. In 1928, Rothman staged Got fun nekome<\/em> in Brisbane, to the outrage of the local community of Orthodox Jews. Zable adds that \u201c[a]fter heated clashes the play went ahead, with a somewhat censored script.\u201d<\/p>\n\n\n\n

Rothman\u2019s production was most likely not the first production of Asch in Brisbane. Serge Liberman writes of his works being staged in Brisbane sometime between 1914 and 1917 by the Yiddish Dramatic Circle. The success of the first performances of Yiddish drama, and \u201cthe encouraging response of the audience prompted the amateur actors to perform Asch\u2019s With the Stream,\u201d among others.3<\/sup><\/a><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Program of the Union Theatre production of Kiddush hashem<\/em>, 1952, courtesy of the Kadimah Jewish Cultural Centre and National Library, Kadimah David Herman Theatre and Events Programs, http:\/\/www.kadimah.org.au\/Archives<\/a>. <\/figcaption><\/figure>\n\n\n\n

Nevertheless, Melbourne was unquestionably the center of fine Yiddish theatre. Since the 1950s, a variety of \u201cvagabond stars<\/a>\u201d from Europe, the US, and Israel regularly toured Australia. In 1952, Jacob Waislitz produced at least two performances of Asch\u2019s Kiddush hashem<\/em> with the Union Theatre. With time, theatrical life started to rely on international actors and directors, many of whom traveled to Australia from Israel, and came with new ideas and repertoire as well as a willingness to stage classics, including Asch. In 1955, Zygmunt Turkow<\/a>, a student of David Herman in Warsaw who immigrated to Israel 1952, adapted and staged Onkl mozes<\/em> in Melbourne. The <\/em>Australian Jewish News <\/em>called the production \u201cenjoyable and very well received by the large audience,\u201d and praised the amateur actors Israel Rothman and Leah Zuker, who \u201crose \u2018above the effect of acting\u2019,\u201d while others were criticized for their nasal intonation, wooden and stagey gestures, and \u201cout-of-focus\u201d characters.<\/p>\n\n\n\n

In 1957 Shmuel Atzmon staged Motke ganev<\/em>, and then performed and directed it again in 1978, together with Leah Shlanger. The latter production was reviewed by Leon Gettler in The Australian Jewish News<\/em>, who described it as \u201ca slice of Jewish folklore\u201d in the form of a \u201cstagey drama.\u201d He criticized the production for coming close to \u201cshallow melodrama\u201d and that it required \u201csome tightening-up if it should aspire beyond amateurish fumblings and artificiality.\u201d Interestingly, Zable suggests reading this production of Motke ganev<\/em> as \u201ca parable of that fragile vocation called Yiddish Theatre.\u201d<\/p>\n\n\n\n

A declining number of Yiddish speakers in Australia and an increasing level of acculturation resulted in changes to the theatre. The David Herman Theatre<\/a> continued its activities until the early 1990s. In the 1970s its successor, the Melbourne Yiddish Youth Theatre<\/a> at the Kadimah, started producing new interpretations of the classics from the Yiddish theatrical repertoire as well as translations of English plays. Asch\u2019s works, however, do not seem to feature as part of their repertoire. Particularly passionate about his works being recognized as a part of a great European literary tradition and translated into many languages, Asch might not have been disappointed by that. Rather, he would have most likely been contented that for so many Jewish immigrants recreating their life away from home, his works, like other productions of the Yiddish theatre, were, as Zable noted, \u201cone reliable source of pleasure\u201d in ek velt.<\/p>\n\n\n\n

Note: I am very grateful to Arnold Zable for sharing his Yiddish theatre and Kadimah stories with me on one evening in the Brunetti Cafe in Carlton, Melbourne, and with the world by writing\u00a0Wanderers and Dreamers: Tales of the David Herman Theatre<\/a>\u00a0(Melbourne, 1998) and other fascinating tales of Jewish life in Australia.<\/p>\n\n\n\n

\n\n\n\n

Notes<\/h2>\n\n\n\n
    \n
  1. Julie Meadows, ed.,\u00a0A shtetl in ek velt: A shtetl at the end of the world: 54 stories of growing up in Jewish Carlton, 1925-1945<\/em>\u00a0(Australian Centre for Jewish Civilisation, Monash University, Victoria, 2011).<\/li>\n\n\n\n
  2. Danny Goes, \u201cYiddish with an Aussie accent,\u201d\u00a0The Australian Jewish News,\u00a0<\/em>April 6, 2011.<\/li>\n\n\n\n
  3. Serge Liberman, \u201cYiddish theatre In Perth, Brisbane and Sydney,\u201d\u00a0Australian Jewish Historical Society Journal<\/em>\u00a09, part 1 (1981): 26-27.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Sholem Asch belongs to those Yiddish authors who often defy rather than obey the conventions of Yiddish culture and Jewish sensibilities.<\/p>\n","protected":false},"author":32,"featured_media":1335,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[47,27,12,40],"tags":[],"class_list":["post-1324","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1918-1945","category-africa-and-australasia","category-directors","category-theatre-troupes"],"yoast_head":"\nSholem Asch at the End of the World - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/sholem-asch-at-the-end-of-the-world\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sholem Asch at the End of the World\" \/>\n<meta property=\"og:description\" content=\"Sholem Asch belongs to those Yiddish authors who often defy rather than obey the conventions of Yiddish culture and Jewish sensibilities.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/sholem-asch-at-the-end-of-the-world\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2018-03-26T20:36:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-12T20:38:53+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Kiddush-Hashem-2-copy.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"543\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Jeremy A Streich\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jeremy A Streich\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/sholem-asch-at-the-end-of-the-world\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/sholem-asch-at-the-end-of-the-world\\\/\"},\"author\":{\"name\":\"Jeremy A Streich\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/#\\\/schema\\\/person\\\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"Sholem Asch at the End of the World\",\"datePublished\":\"2018-03-26T20:36:00+00:00\",\"dateModified\":\"2023-05-12T20:38:53+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/sholem-asch-at-the-end-of-the-world\\\/\"},\"wordCount\":1784,\"image\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/sholem-asch-at-the-end-of-the-world\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/wp-content\\\/uploads\\\/sites\\\/562\\\/2023\\\/05\\\/Kiddush-Hashem-2-copy.webp\",\"articleSection\":[\"1918-1945\",\"Africa and Australasia\",\"Directors\",\"Theatre Troupes\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/sholem-asch-at-the-end-of-the-world\\\/\",\"url\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/sholem-asch-at-the-end-of-the-world\\\/\",\"name\":\"Sholem Asch at the End of the World - 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