The local Haymarket Theatre, under the direction of Jacob Palei and Joseph Kessler, is about to close its present season as a permanent Jewish Theatre in Chicago, leaving the stage to the New York guests, who will appear in all their glory before our public in their "successful dramas" which "took New York by storm" earlier in the season.

As is usually the custom, such a situation affords us the opportunity to give a general review of the plays presented during the season and to review what the theatre gave to the public, and what it received in return.

Were we to adhere to the established custom, we would begin with the opening of the season seven months ago, and analyze everything which has been presented since that time.

2

But let's make an exception in this particular case, and try to satisfy ourselves with only a few short remarks about the plays given and the players, who entertained the local public.

Some two dozen dramas, melodramas, comedies, operettas and plays of the old repertoire, as well as some new classics were presented at the Haymarket Theatre in the past season. Among them were also some literary plays, which satisfied, more or less, a cultured audience. But when you examine the complete repertoire, then the "literary" play is completely lost in the mountain of trash which was constantly presented.

Who is to be blamed? Certainly not the management! The theatrical directors are businessmen first of all; [they are] people for whom the theater exists for profit, and mainly from this standpoint is a play accepted or rejected. The taste and likes of the public, upon whom the existence of the theater depends, determine the quality of the play.

3

Although we do not prefer to see it this way, the fact remains that the public would rather be entertained by a filthy play than by a fine literary one, from which it receives little amusement. This means that the management is compelled to present only plays which appeal to the general public.

This is an ancient, bitter truth in regard to the Jewish Theatre in general and Chicago is no exception.

When you bear in mind that the theatre has always been looked upon as an educational institution for the masses, you are overpowered with gloomy foreboding when you hear all the cynical songs, the foolish couplets and stale wit, which are inevitably found in the artificial Jewish Plays.

Usually it is expected that the theater should maintain, to a certain degree, a local character to attract the public. In the past season, when the present Haymarket Management owned the Empire Theatre, this was the case. In fact there were presented Leon Zolotokoff's "Zalman Troubadour" and Jonah Spivak's "Daniel Deronda"--two presentations of a higher quality, written by Chicago authors, and which, contrary to general expectations, 4were greatly liked by the local public.

Unfortunately, this cannot be said about the Haymarket Theatre's present season. Local types and characteristics were absent. Most of the plays were imported from New York, and it seemed that Chicago has no productions of its own, but has been fed by the blessings of that other city.

Did this benefit the local Jewish theatre?

We'd rather leave it for the public to decide. The public knows the answer, as well as we do.

While on the subject of the Jewish Haymarket Theater season, we wish to take this opportunity to say a few words about the actors, who for seven months played under the direction of Mr. Joseph Kessler. The business manager was the untiring Jacob Palei, well-known to the local public as the most capable worker in the Chicago Jewish theater.

5

Madam Bella Goodinsky, as the main "star," has undoubtedly won the greatest recognition from all who love the Jewish theater. She appeared during the season in a number of beautiful roles, thus establishing herself as a first-rate actress. This is the impression she leaves in Chicago now.

Jacob Hochstein, who played only the first half of the season, was as successful as Madam Goodinsky. His appearance in first and second roles in the plays greatly appealed to the local public.

Louis Bockshitsky, whom the Chicago public knows well from the previous two seasons, again won well-earned recognition as one of the most sympathetic character players, who possesses great talent and understanding.

Benny Adler, also not a newcomer to Chicago, who came here in the middle of the season, again showed what an interesting actor he is, and how much intelligence he brings to his characterizations.

6

Madam Emma Augenblick, whose various talents were seen two years at the Empire Theatre, has again demonstrated, during this season, how much progress she has made in her acting, thereby receiving the applause of the audience, who recognize her as an actress of great interest.

Also Mr. David Shoenholtz, the well-known Chicago comedian, had a successful season. The following excelled in their performances:

Mr. and Mrs. Schrage, Mr. Goldstein, Mr. Silverstein, Miss Helen Siebel, Miss Rosetta Bialis and Mr. Augenblick, who have taken their proper places on the stage and are trying to satisfy the local theater-going public.

In closing the season, the Haymarket Theatre will present tomorrow evening, and Saturday and Sunday matinee and evening, Leon Cobrin's "Strings of Life," with the entire cast.

Next Monday evening, the farewell presentation will be Sigmund Feinman's "The Mute."