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The negotiations were brief and to the point. The regulars at the Green Street were the usual Yiddish Theatre mix of long-time thespians some excellent, others dreadful has-beens and young climbers with the same wide range of talent.

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This particular company boasted its own vital center of important players, Ida and Charles Nathanson. By that year, Charles had already amassed an enviable list of credits, though only 34 and already a veteran of European Yiddish Theatre. An instant dislike blossomed between Morris and the Nathansons. Anshul Schor was an able ringmaster in this circus of barely-tamed performers.


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While Ida would stand in the wings and mutter her discontent. Turkel, the influential critic of the Philadelphia Tag was overly lavish in his praise of the newcomer. In the same column he needled Nathanson for his tendency to overact, to rant. Demonstrating a total lack of sensitivity, Morris took advantage of the column, exacerbating tensions by hanging up in the Green Street lobby an assortment of photos: Morris in the roles he hoped one day to tackle, roles he eventually did recreate elsewhere and with supreme authority, among them King Lear, Uriel Acosta and The Wild Man.

Though only 20 years old, Morris was no stranger to backstage chicanery and must have known the problems he was creating, especially with the Nathansons, the prideful old lions. But arrogance of the worst order was the kindest that could be said of his actions. Over the next few weeks, a power struggle took place between the rightfully indignant Nathansons and the too-self-impressed Morris, with Schor trapped in the middle. Charles and Ida threatened to quit unless the boy was fired. Which he subsequently was, only to be rehired when his absence—according to Schwartz—took its toll at the box office.

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For the next season, the troupe relocated to the Arch Street Theatre on Seventh and Arch because their former home had been declared a fire hazard. The Arch was a stately old Greek style structure that resembled the Parthenon, with its columned front and wide stone steps. During his short stay in Philadelphia, Morris would play every role handed him, never bothering to take an evening off, never refusing to go on for an actor who wanted an evening to himself. Indeed, to such an ambitious, hard-driving neophyte, the chance to show off his versatility, his wide range, was a blessing.

By the end of the second season, Morris had gained enough self-assurance and expertise to take charge of a nearly defunct theatre, the Columbia, owned by Sol Dickstein, his to experiment with and resuscitate. Morris and Celia met, and at once the sparks of common interest and sexual attraction flew between them.

Usually, a director has problems with actors coming late to a rehearsal. This was not the case with us. Initially, he tested the waters with minor stuff: sketches, a few songs from Yiddish classics, then a one-act play he wrote especially for Celia, his first.

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She arranges a party for him in her home, the only guest at the party. She drinks a glass of wine with him. The wine contains poison. You become very close, almost like a family. He was for the most part very amusing, pleasant and interesting. The reason was a matter of naked ambition. Adler was a king and now Schoengold had become a prince and would perform the best roles after Adler died.

Joe would become his heir. Again Schwartz revealed his dark , self-serving, monomaniacal side. Love of theatre superceded every other form of that emotion, even self-love. Over the years, this obsession would surface so many times, in so many ways, that everyone who knew him took it for granted. Between rehearsals at the Columbia, the actor and actress would meet for lunch at Childs. Before long, any thought of becoming a prince like Joe Schoengold had vanished, consumed by his growing passion for Celia.

And the more he pursued her, the more elusive and evasive she grew. Morris was certain of the reason. Undoubtedly Celia liked and at times loved the marvelously entertaining young man—but not as a husband.

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His future prospects may have been good, but managing the Columbia was more a labor of love than a means of support. In her memoirs, Ms. Adler recorded her ambivalence toward the relentless actor. Was it true love? Or is that how a young girl feels when experiencing her first relationship, when she is standing face to face with a real love affair?

An incident was supposed to have taken place that, if accurate, confounds the writer seeking clues to the true character of this brilliant and protean figure. Morris paid a call on them to say bon voyage, and to inform them that come the fall, he might be working for David Kessler, in the new theatre being constructed for him on Second Avenue, a half-mile north of the Bowery playhouses.

Despite her cruel toying with his affections in the past, Morris had pressed on, hounding her for a commitment. Celia, as usual, put him off again, at least until her return from Poland. On the boat during the long sea voyage to Europe, alone with her mother, Celia broached the general topic of Morris Schwartz. The next morning an envelope arrived from Schwartz containing only an invitation to the wedding of Morris Schwartz and Eva Rafalo.

Eva Rafalo? Celia knew of her as the year-old sister of Clara Rafalo from Cincinnati, and also an actress. After rereading many times the invitation, she handed it to Dinah.


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Not another word on that subject was spoken on the interminable journey home, though Celia thought of nothing else, a blend of outrage and shame making her mute and morose. Her first evening back in Manhattan, the pending bridegroom, according to Celia, paid her a visit.


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His eyes were full of guilt and he was unable to offer a satisfactory explanation for his actions, for diddling her for so long, for the inexplicable deception. Incoherent rambling was the best he could come up with. Vastly more experienced and infinitely wiser by then, Celia felt no pain, no anger. Actually, Morris and Eva did wed, but the marriage lasted no longer than most honeymoons.

You now have the chance to become famous overnight. The French play by Alexandre Bisson, written in , is a sudsy piece about a woman who is forced to abandon husband and child, then descends into a life of crime. Twenty years later, she re-emerges as the murderer of a man intent on harming her son, who happens by chance to act as her defense attorney. As things occurred in the tight community of Yiddish Theatre, Morris Morrison, his friend and co-performer at the Arch Street had a leading part in the piece and was asked to recommend someone special to play the lawyer.

Kessler was out of town on tour and the final choice was left to Perlmutter. Nevertheless, Schwartz left Philadelphia at once. Perlmutter met him at the station, took Morris to his apartment on Avenue A, stuffed him with food, then fed him the lines he had to master by the next day. They remained at the impossible task until 2 AM, until Morris and the attorney had fused into one, until the actor felt confident enough for a visit backstage at the Thalia to meet the cast. Perlmutter fought Morris as long as possible then consented.

At the Thalia, Morris learned how correct the prompter had been. Disregarding everything but the chance to excel, Morris eagerly went on that evening. I did a great job [. Schwartz claimed receiving ten curtain calls an exaggeration? After the final bow, he retreated to his dressing room, where he collapsed in a chair, trembling, unable to remove his makeup.

His fellow actors were more than warm in their congratulations, the news having reached the city faster than the train. Those he wanted most to impress: Celia and her mother were cordial but cool. Dinah however remained firm in her unwillingness to consider him a suitor. Waiting at home for him was a letter from Perlmutter.

Kessler wants to hire you. Twelve noon at the Thalia. He would be returning to New York in grand style after having spent six years in the hinterlands, learning his craft, perfecting other theatrical skills, surviving overly critical audiences, pouting prima donnas of both sexes, and managers better suited to run a cotton plantation—all while keeping body and spirit together on subsistence wages.

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This would be his posture with Kessler, he told himself. That out of the way, Kessler shouted for his manager to write up a contract for thirty dollars a week, thirty five dollars the next season if Kessler liked him, if he lasted. End of negotiations. In the fall, Schwartz pulled up stakes and returned to New York, eager to get started. As the Second Avenue Theatre was not yet completed, Kessler and company took up temporary residence at the much less impressive Lyric Theatre on Siegel Street in Brooklyn, a thoroughfare lined with stores and pushcarts.

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Now part of this first-rate troupe in its second-rate theatre, Morris soon discovered that David Kessler was no absentee owner like Largman and Glickman, men more interested in being flashy promoters than dedicated managers. The boss proved to be a hands-on tyrant, an impossible taskmaster, a blusterer in dealing with his actors, cursing and ridiculing them soundly, publicly, in Yiddish, Russian and English.

The theatre, the finest of it time, was completely modern, with sinfully plush seats and an overhanging balcony for special guests.