Performing Arts

Women have always been important as both Yiddish theater audiences and actors. For a decade and more, most American Yiddish actors were immigrants, as were their audiences. Often families played in the same company, such as the famous Adler family. Now, as Yiddish theater has become attenuated, the loyalties and memories of women are important for its survival.

Jewish theater in Vienna between 1900 and 1938 is inconceivable without women actors. A total of 112 people were active in the Viennese Yiddish theaters, of whom 37 were women. Actors such as Pepi Litmann, Molly Picon, and Mina Deutsch popularized “trouser roles” in which women depicted men as well as playing strongly typified female characters.

Jewish women on stage in America took on a variety of musical roles and performed all kinds of songs, including religious hymns and liturgical chants. In its heyday, the Yiddish stage mirrored American Jewish life. An amazing range of women’s woes were highlighted, discussed, and often resolved across the footlights, presenting the reality that immigrant women faced to an extent not paralleled in the English-language theatrical world during those years.

American Yiddish films captured the language, lifestyle, values, dreams, and myths of Yiddish culture, which resonated deeply with many Yiddish immigrant communities in New York City. Yiddish film reached its “Golden Age” between 1936 and 1939, and many influential women graced the Yiddish screen, including Moly Pico, Celia Adler, Jennie Goldstein, Lili Liliana, and Berta Gersten. 

The transition of Yemenite women from a traditional religious society to a western-secular society upon immigration to Israel was marked by a certain ambivalence. Their status and gender roles changed, and they became integrated both economically and socially into Israeli society. However, the new values underwent a certain degree of filtration as Yemenite women accepted some elements while rejecting others.

Jewish women in vaudeville helped to cultivate a unique American Jewish identity. Headliners Sophie Tucker, Belle Baker, and Fanny Brice were prominent, as were performers such as Nan Halperin and Nora Bayes. Molly Picon was a star of Yiddish theater, and Sarah Bernhardt a star of the stage. The reign of Jewish female vaudevillians ended in the 1930s, but their voices continue to be heard.

Pianist Rosalyn Tureck toured the world as a consummate interpreter of the keyboard music of Johann Sebastian Bach. Tureck made her Carnegie Hall debut in 1935 before touring in Europe, South America, Israel, Turkey, South Africa, and Australia. In 1994 she founded the Oxford-based Tureck Bach Research Institute.

Vaudeville legend and Broadway star Sophie Tucker defied convention with her saucy comic banter and music. Tucker became famous internationally for her singing performances and delighted audiences throughout America and Europe with her rendition of “My Yiddishe Momme.” Tucker was proud of her Jewish identity and created the Sophie Tucker Foundation, which supported various actors’ guilds, hospitals, synagogues, and Israeli youth villages.

Sydney Taylor as the author of the beloved All-of-a-Kind Family chapter book series, about five memorable and distinctive sisters growing up in a warm and loving Jewish household in early twentieth-century New York.

Jewish women have had a long-standing, complex, often fraught relation to American television. They have had to battle a male-dominated production system and sexist stereotypes, but also have seen significant advances, in front of and behind the screen, resulting from the cable and streaming revolutions and third-wave feminist activism.  

For over a hundred years, Jewish women have been involved in the American theater as writers, actors, directors, designers and producers. The vitality of the Yiddish theater, the splendor of Broadway, the rich tapestry of the regional theater, and everything in between, all owe a debt to the Jewish women who have given of their talents, their energy, their drive, and their dreams.

Sylvia Blagman Syms was a gifted jazz singer who earned praise from Billie Holliday, Frank Sinatra, and Duke Ellington. In 1949, she was discovered by Mae West, who became a significant teacher and influence on Syms’s intimate storytelling performing style. Sym’s went on to record fifteen major albums and tour the United States and World before dying of a heart attack. 

Johanna Spector was an influential ethnomusicologist whose writings, recordings, and film projects documented the music of little-studied Jewish communities from around the world. After surviving the Holocaust, Spector earned her doctorate, founded the ethnomusicology department at the Jewish Theological Seminary, established the Society for the Preservation of Samaritan Culture, and served as president of the Asian Music Society. 

Estelle Joan Sommers was a designer, entrepreneur, and executive who made her career in retail dancewear, introducing innovative designs for Capezio’s dance and exercise clothing.

Anna Sokolow (1910-2000), an American dancer and choreographer of Russian-Jewish descent, danced with the early Martha Graham Company and created many international dance-theater works of social and political significance.

Beverly Sills was a trailblazing opera singer who, after a robust singing career at the New York City Opera Company (NYCO) and the Metropolitan Opera House, became the first female director of the NYCO, and the first female chair of the Lincoln Center board. Sills defied the odds in her career accomplishments while raising two children with disabilities and being actively involved with several charitable organizations.

Award-winning director and screenwriter Joan Micklin Silver, born in 1935 in Omaha, Nebraska, wrote and directed the 1975 barrier-breaking independent film Hester Street, which sparked an interest in the lives of immigrant Jews. She also directed Crossing Delancey (1988), five other feature films, and several films for television.

Feisty and opinionated, Sylvia Sidney was quite the opposite of the waiflike victim of social oppression she played in Hollywood’s Depression Era films. While she disliked playing the victim, her vulnerability and working-class persona resonated with audiences. She earned an Oscar nomination for her performance in Summer Wishes, Winter Dreams, took on a comic role as the caseworker in Beetlejuice, and played a sympathetic grandmother in one of the first TV movies about AIDS, An Early Frost.

Irene Mayer Selznick was a producer and philanthropist in Hollywood and New York. She wrote in her memoir, A Private View (1983), that Act I was spent under the shadow of her father, the film executive Louis B. Mayer; Act II was marriage to David O. Selznick, producer of Gone With the Wind; and Act III consisted of her career as a Broadway producer. She is known for producing Tennessee Williams’s A Streetcar Named Desire (1947).