{"id":1538,"date":"2018-11-27T14:58:00","date_gmt":"2018-11-27T20:58:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1538"},"modified":"2023-05-16T15:27:24","modified_gmt":"2023-05-16T20:27:24","slug":"but-enough-about-strindberg-lets-talk-about-goldenberg","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/but-enough-about-strindberg-lets-talk-about-goldenberg\/","title":{"rendered":"But Enough About Strindberg; Let\u2019s Talk About Goldenberg!"},"content":{"rendered":"\n

Years ago, while\u00a0researching the Polish-Jewish painter\u00a0Maurycy Minkowski<\/a>\u2019s 1930 visit to Buenos Aires, I came across an article in the Spanish-language weekly\u00a0Mundo israelita<\/em>, titled \u201cMinkowski, Goldenberg, and Our Community.\u201d The author,\u00a0Sabetay J. Djaen<\/a>, was a frequent contributor to that newspaper. He was also the Chief Rabbi of Argentina\u2019s Sephardic community.<\/p>\n\n\n\n

In that article, Djaen discussed an exhibit of Minkowski\u2019s artworks that he had visited, along with the Yiddish actor Samuel Goldenberg\u2019s recent production of August Strindberg\u2019s play\u00a0The Father<\/em>. Djaen lamented that Minkowski\u2019s paintings went largely unsold and Goldenberg\u2019s magisterial performance as Captain Adolf was wasted on an empty hall. \u201cWhere are our Jews?\u201d he asked. \u201cWhere are the friends of art in this great metropolis?\u201d Djaen concluded with a harsh assessment of the materialism, hedonism, and cultural indifference of the community that he served: \u201cThe 200,000 Jews who are scattered about our clubs and centers exist in a vacuum, amidst so many soir\u00e9es [tertulias<\/em>], so much tango, etc., etc.\u201d1<\/a><\/sup><\/p>\n\n\n\n

Strindberg\u2019s drama revolves around the marital discord between a freethinking but authoritarian patriarch, Captain Adolf, and his calculating wife Laura, regarding their daughter Bertha\u2019s education. The Captain, concerned about the negative influences that his child might absorb were she to remain at home, intends to send her away to train as a schoolteacher. Laura, on the other hand, is determined to keep her daughter at home. She contends, moreover, that only the mother really knows the identity of her child\u2019s father\u2014insinuating thereby that Adolf might not, in fact, be Bertha\u2019s father. If true, this would nullify his legal rights to determine the child\u2019s future. Laura convinces the family doctor that the Captain has gone mad, which provokes the Captain into committing an act of violence. The doctor commits him to an asylum; the Captain\u2019s childhood nurse cajoles him into a straitjacket; the Captain suffers a stroke and finally he dies.<\/p>\n\n\n\n

But, to quote Sabetay Djaen, \u201cThis is not the moment to speak of Strindberg\u2014about whom so much has been written concerning his work and talent. My sole desire here is to highlight the art of Sam Goldenberg, whom we have seen in several Yiddish theatre performances at the [Teatro] Excelsior.\u201d Djaen\u2019s enthusiasm bordered on the hyperbolic: \u201cHe is great, sublime; his creations are natural yet magical; they grab the viewer; he carries us along\u2026 The writer of these lines has had the occasion to see High Priests of the Temple of Thalia in this role. However, Sam Goldenberg surpasses them. He is unique\u2014he is brilliant in this performance.\u201d<\/p>\n\n\n

\n
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Rabbi Sabetay J. Djaen. Source: Iuventa.org.<\/figcaption><\/figure>\n<\/div>\n\n\n

One of the more incongruous aspects of Sabetay Djaen\u2019s encomiums is that they emanated from the pen of a native speaker of\u00a0Ladino<\/a>\u00a0(Judeo-Spanish). Djaen\u2019s own plays in Ladino had been performed in Belgrade, Sarajevo, Salonika, and other cities of the Balkan Sephardi diaspora.2<\/a><\/sup>\u00a0In 1927, a Latin American journalist was struck by the rabbi\u2019s \u201carchaic Castilian,\u201d tinged as it was with the \u201cancient Ladino romance.\u201d3<\/a><\/sup><\/p>\n\n\n\n

Sabetay Djaen was born circa 1883, whether in Belgrade, Sarajevo, or in a different city in neighboring Bulgaria (accounts vary), and he was educated in Istanbul and Jerusalem. As a committed Zionist, Djaen embraced an expansive approach to Jewish culture and politics. He was at ease in his interactions with Sephardi and Ashkenazi religious leaders, government officials, Jewish community leaders, and Argentine Zionist leaders, as well as with ordinary people.4<\/a><\/sup>\u00a0His personal ties extended to Yiddish-speaking circles in Argentina and he evidently understood enough Yiddish to appreciate an evening of Goldenberg performing Strindberg at the Teatro Excelsior.<\/p>\n\n\n\n

So, who was this Goldenberg fellow? What was he doing in Argentina? Why was he putting on a play by Strindberg, in Yiddish no less?<\/p>\n\n\n\n

Samuel Goldenberg (the name was also spelled Goldenburg and Goldinburg) was an unusually versatile performer. Born in Brest-Litovsk in 1886, he received musical training at the Warsaw Conservatory. After he left tsarist Russia in order to avoid military conscription, he worked for a time as a piano teacher in London, and then wandered between Paris, South Africa, Australia, New Zealand, and Argentina, before arriving in New York City in November 1916. This tall, \u201ccraggy-featured actor-singer-pianist\u201d (film historian J. Hoberman\u2019s description5<\/a><\/sup>) was often typecast as the romantic lead. Many of the plays in which he performed included musicians among the principal roles, thus enabling Goldenberg to exercise his multiple talents. As the resident star in the numerous companies with which he performed, he frequently served double-duty as the productions\u2019 director.<\/p>\n\n\n\n

The Teatro Excelsior, where Goldenberg\u2019s performances of\u00a0The Father<\/em>\u00a0took place, billed itself as the only full-time Yiddish theatre in\u00a0Buenos Aires<\/a>. It was located on\u00a0Avenida Corrientes<\/a>, adjacent to the\u00a0Mercado de Abastos<\/a>\u00a0(the city\u2019s large indoor market) in the\u00a0heart of the Jewish immigrant district<\/a>. The Excelsior\u2019s season ran for eight months, from February to October, and Goldenberg was engaged there as star from June to October 1930. For several weeks he was joined by\u00a0Stella Adler<\/a>, also visiting from New York City.<\/p>\n\n\n

\n
\"\"
Samuel Goldenberg performing as part of a Spring Ball organized by the I. L. Peretz writer\u2019s circle on April 10, 1920 in New York. Source: Dorot Jewish Division, The New York Public Library.<\/figcaption><\/figure>\n<\/div>\n\n\n

The Excelsior\u2019s audiences had an opportunity to see him in upwards of twenty plays\u2014mostly melodramas, comedies, and musicals from the New York repertory, bearing such titles as\u00a0In a Romanian Tavern, The Latest Fashion<\/em>\u00a0(a kind of Yiddish flapper comedy),\u00a0Blind Jealousy, In a Web of Sin,\u00a0<\/em>and\u00a0The White Slave.<\/em>\u00a0The latter two potboilers, which played to packed houses in early September 1930, were of keen topical interest to Jewish audiences in Buenos Aires. Their performances came just a few weeks before the mass arrests of over 100 members of the\u00a0Sociedad Zwi Migdal<\/a>, whose chief business was trafficking in international prostitution.6<\/a><\/sup>\u00a0These were plays that Goldenberg had performed repeatedly throughout his career.7<\/a><\/sup>\u00a0Toward the end of his run he also staged and starred in\u00a0Zisye Goy<\/em>, a brand new melodrama by the local author\u00a0Samuel Glasserman<\/a>\u00a0(Glazerman), about a \u201cJewish\u00a0gaucho<\/a>\u201d who wants his daughter to marry a respectable Jewish lad from the city.<\/p>\n\n\n\n

Only very occasionally were productions such as these counterbalanced by plays of a more literary bent; The Father <\/em>was one of those rare exceptions. Throughout his career, Goldenberg would decry the preponderance of shund<\/a> <\/em>in his personal repertory, blaming it on the theatre managers, the theatre unions, the tyranny of the box office, and (ultimately) the theatre-going audience. He proclaimed his disdain for the \u201cstar system\u201d that dominated the Yiddish theatre, even though he stood as a prime exemplar of that system. At $500 a week (at least early on in his New York career), it paid the rent. Nevertheless, among the few literary plays by European authors in his repertory, Strindberg\u2019s The Father<\/em> was one of his favorites, and he performed it throughout his career.<\/p>\n\n\n\n

At the Excelsior,\u00a0The Father<\/em>\u00a0had three performances (September 19, 20, and 21) shortly before Rosh Hashanah, and was revived for one final performance about three weeks later (October 8).8<\/a><\/sup>\u00a0Given that his newspaper article about\u00a0The Father\u00a0<\/em>was published in mid-October, Rabbi Djaen probably attended its fourth and final performance, which took place on a Wednesday. (Theatre managers often consigned literary plays to midweek, when turnouts and box office receipts were lower than on the weekends.)9<\/a><\/sup><\/p>\n\n\n\n

By contrast, attendance at the Friday night opening of\u00a0The Father<\/em>\u00a0was high, surprisingly so in the view of the Yiddish critic\u00a0Shmuel Rozhanski<\/a>\u00a0(Rollansky), and Goldenberg\u2019s performance was warmly greeted by the audience.10<\/a><\/sup>\u00a0Following the performance, Goldenberg himself proclaimed, \u201cI thought that the production of such a literary play\u2014a non-Jewish one\u2014would draw at most a\u00a0minyan<\/a><\/em>. It\u2019s encouraging to have such a reception!\u201d Rozhanski wrote a generally positive review for the daily newspaper\u00a0Idishe tsaytung<\/a><\/em>, though he felt that Strindberg\u2019s emphasis on the \u201cbrutal enmity between man and woman\u201d was played down through the production\u2019s portrayal of the Captain as a suffering victim of his wife\u2019s calculating caprices. \u201cThe prose and the scenes were Strindberg\u2019s, but Strindberg\u2019s spirit was lacking\u2026 The play was\u00a0faryidisht un farheymisht<\/em>\u201d\u2014in other words, the interpretations were watered down for a Yiddish-speaking audience that for weeks on end had been fed a steady diet of trite melodramas at the Teatro Excelsior.<\/p>\n\n\n\n

How did the actors manage the pivot from melodrama to literary tragedy? In Rozhanski\u2019s opinion, the female lead Sarah Sylvia (who played the Captain\u2019s wife Laura) \u201cliberated herself\u201d from the sentimentalized characterizations to which she had inured her audiences, but \u201cshe did not play up the drama, leaving a tepid impression.\u201d Goldenberg, by contrast, scarcely deviating from his regular stage practices, \u201cgreatly elevated himself \u2013 he provoked and he cajoled, occasionally cutting to the quick, to excellent effect in the rapid-fire dialogues.\u201d Goldenberg had an \u201cimmense talent,\u201d wrote Rozhanski, \u201cto make his roles light and extraordinarily accessible\u201d to his audiences \u2013 and that is precisely how he played Captain Adolf in\u00a0The Father<\/em>: naturally, subtly, \u201cwith elasticity,\u201d and without excessive artifice.11<\/a><\/sup>\u00a0Though Rozhanski and Djaen ultimately parted ways about this production\u2019s faithfulness to the playwright\u2019s artistic intentions, they did agree about the effectiveness of Goldenberg\u2019s technique. Rozhanski summed it up: \u201cGoldenberg\u2019s Captain was a handsome theatrical figure, with considerable expression in his glances and gestures. His glances were much more intense and more touching than his gently enunciated words.\u201d<\/p>\n\n\n

\n
\"\"
Portrait of Maurice Schwartz, Samuel Goldenberg, and Jacob Ben-Ami in a scene from H. Leyvik\u2019s\u00a0Ver iz ver\u00a0<\/em>(Who is who), Source: YIVO, RG280, F537.298.<\/figcaption><\/figure>\n<\/div>\n\n\n

Notwithstanding Rabbi Djaen\u2019s observations, The Father<\/em>\u2019s four performances were thus hardly an indicator of the Yiddish theatre-going audience\u2019s indifference to works enjoying a high literary reputation. Arguably, it was Djaen\u2019s misfortune to be present at the one midweek performance where the audience did indeed comprise \u201ca minyan<\/em>.\u201d However, that evening\u2019s sparse attendance provided him with the cudgel with which to beat the Jews of Argentina. It is not altogether surprising, therefore, to learn that Rabbi Djaen\u2019s tenure there as Chief Sephardic Rabbi was of brief duration. The following year (1931), he departed for Bucharest, Romania, serving as Chief Rabbi of that country\u2019s Sephardic community through the traumatic wartime years of the Iron Guard regime, until he escaped in March 1944. Djaen died in 1947, in Tucum\u00e1n, Argentina, while on an extended visit to South America.<\/p>\n\n\n\n

As for Goldenberg, following his 1930 stay in Buenos Aires, he hit the road again, with extended periods in such cities as Chicago, Los Angeles, Warsaw, and Buenos Aires once again. Like a number of other Yiddish stars, he occasionally crossed over to the English-language stage, most notably in productions of New York\u2019s Theatre Guild and in the Biblical pageant The Eternal Road<\/em>, which was directed by Max Reinhardt in 1935. He made an unsuccessful foray to Hollywood; his one and only movie, Shir ha-shirim<\/em> (based on the musical by Anshel Schorr and Joseph Rumshinsky), has been \u201cmercifully lost,\u201d in J. Hoberman\u2019s view. Goldenberg also performed on WEVD\u2019s Forward Hour<\/em>, in a series of radio broadcasts devoted to historical topics. The obscurity into which he has fallen since his death in 1945 may be attributed at least in part to the disappearance of the Shir ha-shirim<\/em> film and the absence of recordings of his baritone singing voice.<\/p>\n\n\n\n

Goldenberg\u2019s career illustrates the dilemmas facing even the most talented performers\u2014including ones with higher artistic aspirations\u2014on the American Yiddish stage. A couple of years after he arrived in the United States, Goldenberg professed that he was willing to take a big pay cut in order to perform with a company that was devoted to a more artistic repertory. In the early 1920s one such troupe, Maurice Schwartz\u2019s\u00a0Yiddish Art Theatre<\/a>, did arise\u2014and Goldenberg did perform there off and on. But, as he commented early on, Schwartz\u2014ostensibly an opponent of the Yiddish theatre\u2019s prevailing business model\u2014was in reality his house\u2019s star, and other stars had to look elsewhere for public exposure and their livelihoods.(Indeed, Goldenberg\u2019s\u00a0gastrol<\/em>\u00a0in Argentina was partially eclipsed by Schwartz\u2019s, who was the visiting star on a rival Buenos Aires stage from June to August 1930.) Finally, Goldenberg\u2019s musicianship, coupled with his desire to please his audiences, militated against his performing a predominantly literary diet of classical plays lacking musical interludes. In her memoirs, the actress\u00a0Celia Adler<\/a>\u00a0(Stella\u2019s half-sister) recalled a topical revue,\u00a0The Crooked Mirror<\/em>, which enjoyed a couple of performances at the Yiddish Art Theatre in the early 1920s. In a sketch by the humorist\u00a0Moyshe Nadir<\/a>, \u201cone scene was about the popular Yiddish actor Samuel Goldenberg, who loved to play the piano to demonstrate his virtuosity, and in a scene where he could play the piano, he played to his heart\u2019s content.\u201d12<\/a><\/sup>\u00a0Oh, to have witnessed such a scene!<\/p>\n\n\n\n

\n\n\n\n

Notes<\/h2>\n\n\n\n
    \n
  1. Sabetay J. Djaen, \u201cMinkowski, Goldenberg y nuestra colectividad,\u201d\u00a0Mundo israelita\u00a0<\/em>(Buenos Aires), October 18, 1930.<\/li>\n\n\n\n
  2. Three Ladino plays by Sabetay (Shabtai Yosef) Djaen were published in Vienna in 1921\u20131922:\u00a0Yifta\u1e25\u00a0<\/em>(1921);\u00a0Devorah\u00a0<\/em>(1921\/1922); and\u00a0La iz\u2019ah del sol\u00a0<\/em>(1922).<\/li>\n\n\n\n
  3. \u201cVengo en busca de mis hermanos\u2026 el gran rabino sefard\u00ed Sabetay J. Djaen nos habla de su viaje,\u201d\u00a0Cr\u00edtica\u00a0<\/em>(Buenos Aires), April 16, 1927. With thanks to Ricardo D\u2019Jaen (Seattle), for providing a photocopy of this article.<\/li>\n\n\n\n
  4. Adriana M. Brodsky,\u00a0Sephardi, Jewish, Argentine: Creating Community and National Identity, 1880\u20131960\u00a0<\/em>(Bloomington: Indiana University Press, 2016).<\/li>\n\n\n\n
  5. J. Hoberman,\u00a0Bridge of Light: Yiddish Film between Two Worlds\u00a0<\/em>(New York: The Museum of Modern Art; Schocken Books, 1991), 207.<\/li>\n\n\n\n
  6. Maurice Schwartz performed the more highbrow\u00a0Got fun nekome\u00a0<\/em>(God of Vengeance) by Sholem Asch\u2014a play that has \u201clegs\u201d to this day\u2014at another theatre in Buenos Aires, where he was touring from June to August 1930.<\/li>\n\n\n\n
  7. Goldenberg had honed his acting chops during a two-year stint in Buenos Aires (1914\u20131916), which is where he learned many of the roles that he would perform over and over again, for many years.<\/li>\n\n\n\n
  8. During the High Holy Days, the Excelsior\u2019s auditorium became a performance venue of a different sort, with the famous cantor Gershon Sirota\u2014visiting from Warsaw\u2014leading religious services there.<\/li>\n\n\n\n
  9. Alef Alef [Efroym Oyerbakh (Ephraim Auerbach)], \u201cFarvos shpielt Semuel Goldinburg shund?\u201d in\u00a0Di tsayt<\/em>\u00a0(Die Zeit; New York), October 28, 1921.<\/li>\n\n\n\n
  10. \u201c\u2018Der foter\u2019, oyfgefihrt durkh Samuel Goldenburg in teater \u2018Ekselsyor\u2019,\u201d\u00a0Idishe tsaytung<\/em>, September 21, 1930. The review is unsigned but is almost certainly by the newspaper\u2019s cultural critic, Shmuel Rozhanski.<\/li>\n\n\n\n
  11. Goldenberg more than once proclaimed himself an adherent of the methods developed by Konstantin Stanislavski at the Moscow Art Theatre.<\/li>\n\n\n\n
  12. Celia Adler (assisted by Ya\u2019akov Tikman),\u00a0Tsili Adler dertseylt\u00a0<\/em>(The Celia Adler Story) (New York: Celia Adler Foundation, 1959), vol. 2, 578. See also David S. Lifson,\u00a0The Yiddish Theatre in America\u00a0<\/em>(New York: Thomas Yoseloff, 1965), 351.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

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