Sidor belarsky biography of williams
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Sirovich, Dr. William I., 1935
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File — Box: Box I-1:59, Box: I-1:59, Folder: 1829
Scope and Contents
This subseries consists of more than 2100 folders of correspondence containing letters, telegrams, contracts, payment agreements, membership applications, awards, newspaper clippings, and other materials relating to the professional lives and working conditions of celebrated actors, producers, directors, and playwrights, who became household names during the golden age of Yiddish theater in America. The correspondence is mostly from 1927-1945, but with materials dating from 1908 until 1986.
Actors and community leaders for whom there are folders include: Julius Adler, Leon Arkin (labor official), Rose Asch Simpson (labor), Judith Abarbanel, Sidor Belarsky, Ben Bonus, Max Bozyk, Daniel Charney, Ossip Dymow, Sam Gertler (playwright), Jacob Jacobs, Hymie Jacobson, Irving Jacobson, Jacob Kalich and Molly Picon (including a 1946 telegram sent by Picon from Poland describing performances to benefit Holocaust survivors), Jennie Kessler, Sarah Kindman, Max Kletter, Harry Lang (labor), Leon Liebgold, Misha Levitsky (pianist), Fiorello LaGuardia (about his participation in wartime bond drive), Meyer Melman, Bessie Mogul
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April 01, 2014
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Is it too obvious to begin a discussion of an album of Passover music with the question: What makes this album different from all others? The newest release from the Milken Archive of Jewish Music contains a compelling mix of old and new, known and obscure musical settings pertaining to the Passover holiday. As part of the series Cycle of Life in Synagogue and Home: Prayers and Celebrations Throughout the Jewish Year (Volume 4), the collection highlights the nature of a holiday that is playful and poignant, serious and silly, and that seems to beg for theatrical interpretation.
Much of the older material here hearkens to an era when traditional communal seders were held at city ballrooms or Catskills hotels. These seders were events where tradition and ritual mixed with entertainment and where bitter herbs were served with something to make them more palatable. It was a time when, as Artistic Director Neil W. Levin points out in the volume’s introduction, seders featured high-profile figures and “catered to a clientele hungry for bits of cantorial, liturgical, and even Second Avenue Yiddish theatrical nostalgia.”
The Milken Archive’s chosen representative of this era, the “Passover Seder Festival” composed by Yiddish theater maven Sholom Secund
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