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By Valleri J. Hohman (auth.)

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69 Several benefits were held for the company. One benefit in January 1906 raised $1,000 for the group, and a more lavish event in February 1906 raised $10,000 to aid the company (by now presented as Russian exiles). The greatest support for the company came from Otto H. 70 Others, including J. P. Morgan and Andrew Carnegie, contributed support for the twenty-sixmember company. The company planned to perform in Boston, under the management of Daniel Frohman, but this proved to be a breach of contract 44 Russian Culture and Theatrical Performance in America with the newly formed, Tchirikov Circle, the organization under which Goldman supported Orlenev’s group.

Debates prompted by the theatre would be continued in cafes, lecture halls, and Yiddish newspapers. Gordin’s success and popularity was largely due to the support he found in another Russian-Jewish exile, the star actor Jacob Adler. From his early days in the theatre, Adler had dreamed of increasing the professionalism of the Yiddish stage to equal the professional Russian productions he had seen in Odessa. When an edict in 1882 placed a ban on Yiddish theatrical productions in Russia, Adler headed to London and eventually to New York.

David, the boy, is the epitome of all of Gordin’s own values: he’s honest, hardworking, sensitive, and unpretentious. His goodness contrasts with Gregor’s harshness, pretention, and greed. Other than Miriam, the most loyal character in the play is Natasha, the Russian servant of the family, whom Raphael gives a beautiful crucifix in Act III, set at Christmas. Gordin’s assimilationist views are clear, but cautious. Assimilating to the American (or at least the American city’s) value systems may lead to the erosion of family, social responsibility, and morality.

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