{"id":1357,"date":"2018-05-09T16:43:00","date_gmt":"2018-05-09T21:43:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1357"},"modified":"2023-05-12T16:55:11","modified_gmt":"2023-05-12T21:55:11","slug":"yiddish-theatre-stars-matinee-girls-on-the-move","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/","title":{"rendered":"Yiddish Theatre Stars & Matinee Girls on the Move"},"content":{"rendered":"\n

YOU DIDN\u2019T NEED to be the Great Gatsby to have a good time in the Roaring Twenties. Many Jewish immigrants in America also profited from the economic boom, and had more money to spend on shopping and entertainment. They also moved. In New York City, the rise of a middle class of Eastern European Jews profoundly changed the geography of Jewish life, as more and more second generation Jews and their parents left the city\u2019s old immigrant sections to settle in newly-developed suburban neighborhoods in the Bronx, Brooklyn and Queens. Between 1920 and 1930, Flatbush, the Grand Concourse, Midwood, Sheepshead Bay, and Coney Island saw the number of Jewish residents jump between 250 and 700 percent. Young couples in particular were attracted by these middle-class neighborhoods with their tree-lined streets, large parks, and modern houses. Art Deco apartments with stained-glass windows and pink tile bathrooms belonged to the wonders of America as much as movie palaces and elegant department stores. Living and going out \u201cin style\u201d became an important marker of social achievement. It meant a break away from the Lower East Side, not only from the cramped tenements, but also from the Yiddish theatre.<\/p>\n\n\n\n

As early as 1916, Tin Pan Alley<\/a> commented on the changing taste of Jewish immigrant audiences in \u201cMy Yiddish Matinee Girl<\/a>\u201d:<\/p>\n\n\n\n

When Rosie lived in Essex Street, she liked the <\/em>Yiddishe plays<\/em>
She was so sweet and gentile, all the actors she would praise<\/em>
But since she moved up to the Bron-nex, she has got high tone<\/em>
She gave up Thomashefsky and she took to Georgie Cohen [sic]<\/em>
She\u2019s now got lots of whims, since father\u2019s business pays<\/em>
From moving picture films, she changed to Broadway plays.<\/em>
<\/p>\n\n\n\n

The lyrics of\u00a0Addison Burkhardt<\/a>\u2019s song make fun of Rosie of\u00a0Essex Street<\/a>\u00a0who loved the Yiddish theatre and nickel-and-dime pictures, but who then trades them in for Broadway musicals when her family moves up to the Bronx. Irish\u00a0George M. Cohan<\/a>\u00a0(misspelled as Cohen!) is singled out as Rosie\u2019s favorite star. But I am sure that she also must have loved to see a \u201chigh-class\u201d vaudeville show at the Winter Garden or a \u201cphotoplay\u201d at Roxy\u2019s Rialto Theatre.<\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n
Cover for sheet music of songs from Hello Broadway<\/em> (1919), a musical comedy by George M. Cohan, and Cover for sheet music of songs from Little Nellie Kelly<\/a> <\/em>(1922), a musical comedy by George M. Cohan. Source: Library of Congress.<\/figcaption><\/figure>\n\n\n\n

As soon as the uptown managers discovered the Jewish \u201csubway public,\u201d they sought to further develop and retain the loyalty of this new clientele by integrating specific Jewish elements into the program, especially during Jewish holidays<\/a>. But theatre-going was a year-round activity, so why not try to stage Jewish-themed musicals on Broadway? Big movies with Jewish stories already did very well at the box office in the early 1920s.<\/p>\n\n\n\n

Among the first impresarios to venture into producing Jewish musicals were\u00a0Albert Lewis<\/a>\u00a0and\u00a0Max Gordon<\/a>, two Polish Jews who had started out in vaudeville and then set up their own booking and production agency. In 1925, they asked\u00a0Samson Raphaelson<\/a>\u00a0to adapt his short story, \u201cThe Day of Atonement,\u201d for the stage, and they renamed it\u00a0The Jazz Singer<\/em>. Loosely based on the life of vaudeville star\u00a0Al Jolson<\/a>, who would play \u201chimself\u201d in the 1927 screen version by Warner Bros., the story dramatizes the struggle between Jewish tradition and American modernity, between first- and second-generation immigrants.<\/p>\n\n\n\n

\n

Jews are particularly attracted by plays in which the principal characters are Jews.<\/p>\nNew York Herald\u00a0<\/em>(1925).<\/cite><\/blockquote>\n\n\n\n

On September 24, 1925,\u00a0The Jazz Singer<\/em>\u00a0premiered on Broadway with\u00a0George Jessel<\/a>\u00a0in the leading role. With almost 300 performances in its first season, it was quite a hit. Nobody had expected that a play about Jews would do so well on Broadway. Jessel told\u00a0Theatre Magazine\u00a0<\/em>that he owed his success \u201cin great measure to the Jewish public.\u201d According to the reviewer for the\u00a0Herald Tribune,\u00a0<\/em>the show was \u201cwholly unintelligible\u201d for those who did not speak Yiddish and knew nothing about Judaism. And his colleague from\u00a0The American Hebrew<\/em><\/a>\u00a0remarked that the audience of\u00a0The Jazz Singer\u00a0<\/em>\u201chad a queer look \u2013 for uptown. Some of the women were wearing schiedels [sic; wigs], a few of the men very orthodox beards.\u201d It was apparently a very different crowd than the habitual Jewish Broadway fans, who in 1925 were more likely to be found at\u00a0The Cocoanuts<\/a>, the latest show of the\u00a0Marx Brothers<\/a>.<\/p>\n\n\n\n

\n

There is a Jewish public in New York as great if not greater than any other.<\/p>\nThe American Hebrew\u00a0<\/em>(1926).<\/cite><\/blockquote>\n\n\n\n

It is not surprising that there was a considerable Jewish audience for Broadway shows. Not only because Jews constituted almost a quarter of the city\u2019s population in the 1920s, but also because many of them were already ardent theatre-goers. Since the late nineteenth century, Jewish immigrants and their children had gone in great numbers to the Yiddish theatre \u2014 first on the Bowery and later on Second Avenue. With the ongoing process of outward and upward mobility, it was normal that they began to abandon the downtown Yiddish theatre district. The young loved to go to Broadway for American musicals and movies. Given their growing visibility in the uptown theatres, it is hardly surprising that we find quite a few songs that recount their enthusiasm for mainstream entertainment. The fascination of Jewish girls with Hollywood stars is addressed with humor in\u00a0Since Sarah Saw Theda Bara<\/em>\u00a0(1916), recently recorded by\u00a0Lorin Sklamberg<\/a>.<\/p>\n\n\n

\n
\"\"
Sheet music for\u00a0Since Sarah Saw Theda Bara,<\/em>\u00a0New York, 1916. Source:\u00a0Library of Congress<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

After seeing the \u201cVampire Queen\u201d of the silver screen at a picture show, Sarah Cohn becomes \u201ca very dangerous girl\u201d: men fall for her rolling eyes and \u201cdevilish smile,\u201d scores of sweethearts \u201chang around her door, and buy her all such fancy things\u2014she\u2019s got a dozen engagement rings.\u201d Of course, we should take such lyrics with a pinch of salt, but they accurately position the Jewish matinee girl as a modern-day figure who has found her way in America.<\/p>\n\n\n\n

Meanwhile, the older generation continued to favor Yiddish plays, but many of them preferred to see them in their own suburban neighborhoods instead of having to take a long subway ride to downtown Manhattan. Around 1900, all Yiddish theatres in New York City were located on Manhattan\u2019s Lower East Side. Twenty years later, the market was far more fragmented. Second Avenue was still the Yiddish Rialto, but quite a few Yiddish actors had followed their patrons to the suburbs \u2013- first to Harlem, and later also to Brooklyn and the Bronx.Some stars even sought to establish themselves in the heart of Broadway. The most ambitious and tragic effort in this respect was when\u00a0Boris Thomashefsky<\/a>\u00a0decided to leave downtown for uptown. In June 1923, he took over the lease of the Nora Bayes rooftop theatre on 44th<\/sup>\u00a0Street from the Shubert Brothers and renamed it Thomashefsky\u2019s Broadway Yiddish Theatre. \u201cThe signing for the Bayes is in keeping with an idea to attract patrons from all the boroughs instead of confined to the Lower East Side,\u201d\u00a0Variety<\/em>\u00a0explained.<\/p>\n\n\n

\n
\"\"
Boris Thomashefsky. Source:\u00a0The Thomashefsky Project<\/a><\/figcaption><\/figure>\n<\/div>\n\n
\n
\"\"
Publicity for the new playhouse appeared in both the Yiddish press and the\u00a0New York Times<\/em>. The opening play was Oscar M. Carter\u2019s\u00a0Drey kleyne bizneslayt\u00a0<\/em>with music by Joseph Cherniavsky.<\/figcaption><\/figure>\n<\/div>\n\n\n

Thomashefsky\u2019s Broadway Yiddish playhouse opened on Labor Day with standing room only, but a few months later it went dark. Right from the start, there were problems with\u00a0uptown union rules and blue laws<\/a>, which prohibited regular stage performances on Sunday. Despite protests from Thomashefsky and the Hebrew Actors\u2019 Union, only \u201cSunday concerts\u201d were allowed. This was a dramatic turn of events, because Sunday was the best day at the box office in the Yiddish theatrical business. Thomashefsky attempted in vain to teach his audience that a new show remained on the bill throughout the entire week. But Yiddish theatre-goers stuck to their old habits: on the East Side, the latest plays were only performed on the weekend, with repertoire productions performed from Monday through Thursday at cut-rate prices to members of immigrant organizations. So only on Fridays and Saturdays did the Yiddish Broadway Theatre play for a full house (at best). Thomashefsky even tried to attract patrons by offering a free taxi ride with each ticket purchased for a Monday-through-Thursday night show. A clever publicity stunt! But, as\u00a0Variety<\/em>\u00a0remarked, \u201ctoo heavy a proposition if the theatre were to pay by the clock for every patron commuting from the Bronx or the Lower East Side.\u201d<\/p>\n\n\n

\n
\"\"
Portrait of George Cohan. Source: New York Public Library Digital Collections.<\/figcaption><\/figure>\n<\/div>\n\n\n

By mid-November, Thomashefsky was back to the downtown practice of selling blocks of tickets for old plays at wholesale prices. He was now desperately looking to not further alienate his East Side fans. He also tried to recoup his losses by setting up a Yiddish vaudeville circuit with the same acts that he offered during the Sunday concerts. Unfortunately, it was already too late. The Broadway Yiddish Theatre closed down in March 1924. Thomashefsky was forced to file bankruptcy and never recovered from this setback. Rosie and her matinee friends continued to fancy Georgie Cohan.<\/p>\n","protected":false},"excerpt":{"rendered":"

You didn\u2019t need to be the Great Gatsby to have a good time in the Roaring Twenties.<\/p>\n","protected":false},"author":32,"featured_media":1364,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[47,14,33,19],"tags":[],"class_list":["post-1357","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1918-1945","category-musicians","category-musical-theatre","category-north-america"],"yoast_head":"\nYiddish Theatre Stars & Matinee Girls on the Move - 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\/yiddish-theatre-stars-matinee-girls-on-the-move\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yiddish Theatre Stars & Matinee Girls on the Move\" \/>\n<meta property=\"og:description\" content=\"You didn\u2019t need to be the Great Gatsby to have a good time in the Roaring Twenties.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2018-05-09T21:43:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-12T21:55:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/fig.-1-Matinee-girls.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"787\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"streich@uwm.edu\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"streich@uwm.edu\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/\"},\"author\":{\"name\":\"streich@uwm.edu\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"Yiddish Theatre Stars & Matinee Girls on the Move\",\"datePublished\":\"2018-05-09T21:43:00+00:00\",\"dateModified\":\"2023-05-12T21:55:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/\"},\"wordCount\":1541,\"image\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/fig.-1-Matinee-girls.webp\",\"articleSection\":[\"1918-1945\",\"Composers & Musicians\",\"Musical Theatre\",\"North America\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/\",\"url\":\"https:\/\/uwm.edu\/yiddish-stage\/yiddish-theatre-stars-matinee-girls-on-the-move\/\",\"name\":\"Yiddish Theatre Stars & Matinee Girls on the Move - 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