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Manke:Wait, let’s signal Rivkele quietly. [Basha and Reyzl exit. Manke takes a stick and very softly taps a corner of the ceiling. We can hear the girls outside hopping around in the puddles, taking…
[Curtain]Narrator [entering and about to speak when he hears voices behind the scrim. Walking over, he peers through an opening in it]:How they weep, how they mourn,The wind-borne dead!No new…
Scene: A small garret room. A door is set in a deep recess at the back; there is another door at right. It is night. Several small children are bedded on wooden benches, and several more are asleep in…
This scene is from the 1917 Vilna Troupe production of Fishl Bimko’s Ganovim (Robbers), featuring, from left to right, Morris Tarlov, Avrom Teytlboym, Herts Grosbard, Luba Kadison, and Noyekh Nakhbush…
A porch stage left, a little window. A tree at right. Under the tree a table on a wooden beam. Two solid old benches. In the background, a fence with an entrance in the middle. Behind the fence,…
Yetkhen:And how crude he was with me! He wants to arrange with Papa to marry me! How do you like that? I’d like to meet the man who’ll force me to marry someone! No! No father can do that—I have…
[ . . . ] Reb Azrielke:God’s world is great and holy. The holiest land in the world is the Land of Israel. In the Land of Israel the holiest city is Jerusalem. In Jerusalem the holiest place was the…
In The Dead Class, the most famous of Kantor’s theater pieces from the 1970s, the main characters of the play are elderly men (who are to be understood as being dead), who return to their school desks…
