SZEFTEL ZAK THE JEWISH THEATER 1919 — 1939 Bialystok was one of a number of provincial cities where a Jewish theater troupe could, during the Ger- man occupation in World War I, rest for a couple of weeks. Nevertheless, the drama companies had difficul- ties. For example, in order to travel to the so-called ‘Eastern Territory,’ one needed a special permit, which was not easily obtainable. Moreover, there was the problem of securing a theater. The Palace was the only legitimate theater in town. Russian and Polish theater ensembles and the ‘‘German Theater for the Eastern Front’? appeared there. Cele- brations, assemblies and concerts also took place. Regardless of the difficulties, Jewish actors were resourceful and entertained in Bialystok for weeks at a time. The economic situation in that period was quite onerous. [The Germans took over the large factories and exploited the workers. Raw materials were scarce in the smaller factories, which often led to their shutdown. Most of the Jewish population suffered from hunger and poverty. Nonetheless, the Jewish community in Bialystok supported cultural activities, carried on by the Jewish Arts Association, which had three sections: drama, music and literature. The music department featured a choir of seventy people whose director was Pejsach Kaplan, later the editor and theater critic of the Bialy- stok daily newspaper, Unzer Leben. The drama section was led by the author and teacher, Jakow Pat. Both put On programs in the Palace Theater, which attracted large audiences. A second cultural organization was also active, known as Hazamir. It distinguished itself with its large and high-quality orchestra. This creative atmosphere stimulated the growth of Jewish theater, even in those difficult times. Under the German regime until February 1919, theatrical and comedy groups from Wilno, Warsaw and Lodz, as well as native talent from Bialystok, per- formed in the town. With the advent of the Polish administration in early 1919, rampant anti-Semitism, assaults and trumped-up charges against the Jews plagued the city. It was pointless to even think about developing Jewish theater. However, as soon as the po- litical and economic situation returned to normal, play- bills advertising Jewish theater companies turned up on walls in the streets. But the Polish authorities did not allow these posters to have any Yiddish words on them until later. In a few months, Yiddish theater was reactivated tn Bialystok, the groups from Wilno and Warsaw return- ing to the Palace. In addition, a smaller theater, the Luxe, opened at 18 Lipowa Street, presenting actors The Bialystoker Memorial Book from Warsaw and Lodz: Szlojme Kutner, character actor; Pejsachke Bursztejn, song and dance man; Ida Erwest, Krojze-Miler and a dance group. This ‘‘minia- ture’ theater advertised grandiosely that it would fol- low the example of the best European miniature theaters — an exaggeration, judging by its low-quality repertoire. Entertainers from Bialystok who appeared in pro- grams of a light genre organized into a permanent ensemble under the name “Artistic Corner.”’ The per- formers included: Jehuda Grynhojz, Lyfszic, Herszberg, Meir Szwarc, Szolem Szwarc, Dorina and others. Unzer Leben, the Bialystok daily, commented that the Artistic Corner ‘“‘has demonstrated it is strongly influenced by the serious Jewish theater companies, particularly the Wilno troupe.” The theater critic of Unzer Leben railed against vaudeville productions “‘that are hammered out In a day or two.”’ He went on to say that “the programs like Die Puste Kreczme [The Empty Tavern] and A Ver- worfen Winkel [A Remote Corner] put on by the Wilno and better companies have made it clear that the public longs for something finer and nicer.’’ Nonetheless, vaudeville did find an audience in Bialystok, as demon- strated by the fact 1} could stage two performances every evening. During the 1919 winter season, two Yiddish drama troupes played at the Palace: Yiddish Artistic Drama, led by L. Sniegow, included the following artists: Sonja Elmit, Lejzer Zelaza, Leja Nojmi, Orzewska and others who starred tin: Der Vater (The Father), Dei Puste Kreczme, Die Newela (The Carcass), Mirele Efros, Die Herbstfiedlen (The Fiddles of Fall) and Die Teg von Unzer Leben (Days of our Lives). In the Mozajyika Hall, a vaudeville company appeared, directed by Solomon Kustin. The following actors participated: Ryta Grej, Dzafe, Manja Szejn, Regina Bojman, M. Szwarc and Pejsachke Bursztejn. Their repertoire: Wenn Essen Weiber (When Do Women Eat?) A Mann A Szmate (My Husband the Rag), Die Barimte Komedie (Famous Comedy), Mendel Bejlis, Komedies und Farsen (Comedies and Farces).