The New York Yiddish theatre season started somewhat inauspiciously with the closing of the Adler vehicle, “Millions,” a play by Carl Roessler based on the house of Rothschild, three days after it opened at the New Yorker Theatre. The play had received fine notices in both the English and the Yiddish press, and though George Jessel, its producer did not expect it to be a financial success, its closing is somewhat premature. No plans have been forthcoming to date as to the future plans of the Adler clan.
On the other hand, Ludwig Satz opened at the Public Theatre with the “Bridegroom from Berditchev,” a light musical comedy, with lots of girls, dancing and singing and a bit of tragedy. A commendable feature of the play is the music by the young composer, Abraham Elstein, whose melodies are reminiscent of chassidic “lidalch” and American jazz, which strikes a new note in Yiddish music.
The opening play of Mark Schweid at the Bronx Art Theatre, the former home of the late Rudolph Schildkraut, is a very serious presentation from the pen of the perennially popular Sholom Asch, entitled “Electric Chair.” The play is well presented by an extremely large cast, each doing his part to add to the company’s ambition to produce plays in a modern, tasteful and intelligent manner.
Molly Picon opened in a new play called “The Girl of Yesterday,” written for her by Rumshinsky and Kalisch.