About The Play
Jack Shore, known to TV watchers everywhere as “The Flying Carpet Guy,” is used to having a trailer and catered lunches, not a cramped backstage dressing room just steps from a vending machine. Still – he’s game to participate in this tribute to his grandfather Jacob Shermerinsky, the star of the Yiddish Theater. It’s only one night, and it’s just a staged reading: it will go just fine. That is, if his wife and fellow actor Lisa shows up. Lisa peeved at Jack: he was talking to an attractive admirer and neglected to introduce his wife.
Unfortunately, there’s also the matter of the beautiful young ingénue who is joining them. Jack is worried that Robin, both talented and gorgeous, is going to outshine him. And, if he’s not careful, get him in trouble with his wife.
In the very same dressing rooms, 75 years in the past, Jacob Shermerinksy is wrestling with a similar situation. In a last-ditch effort to improve his fading fortunes, Jacob and his wife Leah have taken a Yiddish classic on tour. Unfortunately, ticket sales are slow and Jacob appears more interested in charming the naïve local Rachel than finding the best talent in town.
In this time-traveling farce, actors play parallel roles in the past and present. As Jacob and Jack frantically rush from room to room, the audience is transported through time with each slam of a dressing room door. In the Yiddish and contemporary theater, one thing remains certain: the show must go on.
Please join us for one of our Access performances. Read more about our access services.
|Audio Descriptions for patrons who are blind or have low vision
Friday, June 11 at 8 pm | Sunday, June 20 at 3 pm
(On-stage touch tour begins 1-1/2 hour before the show)
|Word for Word Captioning for patrons who are hearing impaired
Wednesday, June 9 at 2pm | Friday, June 18 at 8 pm | Saturday, June 19 at 5 pm
|Sign Language Interpretation for patrons who are hearing impaired
Friday, June 18 at 8 pm
Audience Events Learn more about Jacob and Jack at these events. Admission is complimentary with your ticket stub.
OPEN REHEARSAL - Thursday, May 6, 6 pm
Enjoy a behind-the-scenes peek at rehearsal, followed by a talkback with the artists. Complimentary admission.
HUMANITIES NIGHT - Thursday, March 20 6 pm discussion; 7:30 pm show
Leslie Shook, Theatre Manager and Head of the Theatre Management Program at DePaul University, will give a presentation on the history of the Blackstone/ Merle Reskin Theatre where Jacob and Jack is set.
HUMANITIES NIGHT - Thursday, May 27 6 pm discussion; 7:30 pm show
David Y. Chack, President of the Association for Jewish Theatre, will talk about the history of Yiddish Theater.
HAPPY HOUR - Friday, June 4 at 6:30pm
Join us for a pre-show happy hour featuring music from one of Chicago’s own Klezmer bands.
POST SHOW DISCUSSIONS
Join members of the cast and VG Artistic Team in a post-play discussion after every Wednesday performance.
Janet Ulrich Brooks*
ROSLYN ALEXANDER is delighted to be in her sixth James Sherman play directed by Dennis Zacek, having worked in their first collaboration, God of Isaac. She has toured coast to coast with Jim’s Beau Jest, which culminated in a two year engagement Off Broadway. Roslyn was cast by Mike Nichols for the first National Company of Prisoner of 2nd Ave. and won a Jeff Award for Best Actress in Wings at Wisdom Bridge Theatre. Her Chicago credits include, among others, The Family Gold at Victory Gardens, Endgame and The Importance of Being Earnest at Court Theatre, Steel Magnolias at the Royal George, Taking Care at Steppenwolf, Morning’s at Seven at Drury Lane Water Tower, Kimberly Akimbo at A Red Orchard, and most recently, How I Became An Interesting Person at Chicago Dramatists, and End of the Tour at 16th Street Theatre. She has made countless commercials, many feature films and episodes for TV, and dramatized 10 novels for Recorded Books of New York. She was on WFMT, Chicago’s Fine Arts station for several ears reading and interpreting classic literature.
JANET ULRICH BROOKS makes her Victory Gardens debut with Jacob and Jack. She was most recently seen in A True History of the Johnstown Flood at Goodman Theatre. A Company Member of TimeLine Theatre, she has appeared in Not Enough Air (Jeff Nomination, Actress in a Principal Role), Weekend (Jeff Nomination, Actress in a Supporting Role), Tesla’s Letters, Paradise Lost, Lillian & A Man For All Seasons. Other Chicago credits include: Golda’s Balcony (Jeff Award non-equity wing, Outstanding Solo Performance) and Still Life at Pegasus Players; Richard III, A Lie of the Mind (Jeff Nomination, non-equity wing, Actress in Supporting Role), Marathon 33 (Jeff Award, non-equity wing, Ensemble) with Strawdog Theatre Co; Huck Finn with Steppenwolf for Young Adults; Seagull and The Doctor’s Dilemma at Writers’ Theatre, and work with Collaboraction’s Sketchbook.. Films: Betty Ann Waters with Hilary Swank and Polish Bar with Judd Hirsch and Richard Belzer, both due out this year. Janet was the first recipient of the Ed See Outstanding Theatre Alumnus Award from the University of Central Missouri.
DANIEL CANTOR is delighted to return to Victory Gardens, where he was last seen in James Sherman’s Relatively Close. Other Chicago credits: Rabbit Hole at Goodman Theater, Comedy of Errors at Chicago Shakespeare Theater, and Return to Haifa at Next Theater. Off-Broadway: Things You Shouldn’t Say Past Midnight at Promenade Theater, Tuesdays With Morrie at Minetta Lane, Strictly Personal at Soho Playhouse, and Picasso in the national production Picasso At The Lapin Agile. Regional: The American Conservatory Theater, Cincinnati Playhouse, Milwaukee Rep., Cleveland Play House, Studio Theater (D.C.), Hartford TheaterWorks, Playhouse Theater (Delaware), Shakespeare Santa Cruz, Contemporary American Theater Festival, Barrington Stage Festival, Arkansas Rep., Worcester Foothills Theater, Mill Mountain Theater, National Shakespeare Company. Television: “Law and Order,” “Law and Order: Special Victims Unit,” ”Law and Order: CI,” “Conviction,” ”Sopranos,” “As the World Turns,” “Loving,” and the Korean smash hit, “Asphalt Man.” Film: “The Auteur Theory,” (Showtime) “Alchemy,” (ABC) and numerous independent films. Daniel teaches acting at Northwestern University.
ANDREW KELTZ is thrilled to be back at VG and part of this world premiere play. He was last seen here as Kai in The Snow Queen. Other Chicago credits include Yeast Nation with American Theater Company, Big Ben's Fantastical Odyssey at Chicago Symphony Orchestra, Fiddler on the Roof, Bowery Boys, Aladdin, Joseph and the Amazing Technicolor Dreamcoat with Marriott Theatre, The Boys from Syracuse at Drury Lane Theatre, How Can You Run With a Shell on Your Back? at Chicago Shakespeare Theater, The American Plan, Children of Eden, The Waa-Mu Show and Was at Northwestern University. Many thanks to friends and family, and thanks to the whole Victory Gardens team.
LAURA SCHEINBAUM is thrilled to be returning to Victory Gardens, where she was last seen in Claudia Allen’s I Sailed with Magellan. National Tour: Ragtime (Little Girl) at The Oriental; Regional: Fiddler on the Roof (Chava) at Marriott Theatre, The Wild Duck (Hedvig) at Court Theatre, Carousel (Louise) co-produced at Court Theatre and Long Wharf Theatre, Mary Zimmerman’s Pericles at The Goodman, The Diary of Anne Frank (Anne) at Apple Tree Theatre, The Pyrates (Meliflua) at Defiant Theatre; TV: Early Edition (CBS), What About Joan? (ABC). She is a proud graduate of Northwestern University. Much love to her family, including her soon-to-be husband, Keith.
CRAIG SPIDLE Steppenwolf Theatre: The Tempest. Marriott Lincolnshire: Fiddler On The Roof. Goodman: Passion Play, Oedipus Complex, Pericles, Beard of Avon, Black Star Line, Black Stone, As You Like It. Northlight: The Immigrant, Over the Tavern, Experiment with an Air Pump. Court: Life’s a Dream, The Little Foxes, Nora, Desire Under the Elms, The Cherry Orchard. Drury Lane Oak Brook: Ten Little Indians, Fiddler on the Roof (Tevye), The Man Who Came to Dinner (Sheridan Whiteside). Regional Theatres: Arizona Theatre Company, Indiana Repertory Theatre, Music Theatre North (New York), Huntington (Boston), Freedom (Philadelphia), Public (Pittsburgh), American Players (Spring Green, WI). Off-Broadway: The Cherry Lane. Television: Early Edition, America’s Most Wanted. Film: Road to Perdition, The Untouchables, The Color of Money, The Wakening. Mr. Spidle has done voice-overs, commercials, and industrials. He currently teaches at Columbia College in Chicago and is very pleased to once again work with Dennis Zacek.
JAMES SHERMAN (Playwright) is the author of Magic Time, The God of Isaac, Mr. 80%, The Escape Artist, Beau Jest, This Old Man Came Rolling Home, Jest A Second!, Romance in D, From Door to Door, The Old Man’s Friend, Affluenza!, Half and Half, and Relatively Close. All of the plays except Magic Time premiered at Victory Gardens under the direction of Dennis Zacek.
Jacob and Jack is the 13th play that James has premiered at Victory Gardens since his first collaboration with Dennis Zacek in 1985. Ten of the plays have been published and they have been produced all across the United States and in many countries around the world. In 2006, Sherman directed the movie of Beau Jest starring Lainie Kazan, Seymour Cassel, and Robyn Cohen. The movie was screened at film festivals in the U.S. in Miami; San Diego; Palm Beach; Washington, D.C.; Charlotte; Houston; Salt Lake City; Detroit; Honolulu; and Fairfax. The movie was also screened at international festivals in Vancouver, Tel Aviv, and Dusseldorf. Sherman currently teaches at Columbia College and DePaul University. He has been the recipient of fellowships from The MacDowell Colony, the Ragdale Foundation, The Virginia Center for the Creative Arts and Yaddo. Jacob and Jack, won this year’s Festival of New Jewish Plays in La Jolla, CA. marking the fourth time that Sherman has won this award.
DENNIS ZACEK (Director, Artistic Director) has held the position of artistic director for 30 years, and recently accepted the Actor’s Equity Association’s (AEA) Spirit Recognition Award. The Spirit Award is given to institutions that “have made non-traditional casting a way of life.” He also received the 2005 Jeff Award for Outstanding Achievement in Chicago Equity Theatre. He, his wife Marcelle McVay, and the theater are co-recipients of the 2001 Tony Award® for Outstanding Regional Theatre. He is also the recipient of the 2004 Artistic Leadership Award from the League of Chicago Theatres. Mr. Zacek and Ms. McVay received the 1999 Rosetta Lenoire Award from Actors’ Equity and the 1998 Sidney R. Yates Arts Advocacy Award from the Illinois Arts Alliance Foundation. He has directed more than 250 productions in his career, including, most recently, the Chicago premiere of Blackbird by David Harrower, the world premiere of Jeffrey Sweet’s Class Dismissed, James Sherman’s Relatively Close, the Midwest premiere of A Park in Our House by Nilo Cruz, the world premieres of Cynical Weathers by Douglas Post, Denmark by Charles Smith, the inaugural production at Victory Gardens’ new home at the Biograph, Symmetry by David Field, The Family Gold by Annie Reiner, Affluenza! and The Old Man’s Friend by James Sherman, Unspoken Prayers by Claudia Allen, The Action Against Sol Schumann and Flyovers by Jeffrey Sweet, and others. Additional projects include Marisha Chamberlain’s Scheherazade (National Winner of the FDG/CBS competition), John Olive’s Clara’s Play (production and direction award, Academy of Theater Artists and Friends), and James Sherman’s Mr. 80% (direction award, Academy of Theater Artists and Friends). Mr. Zacek directed Arthur Cantor’s production of James Sherman’s Beau Jest at the Lambs Theater in New York, where it holds the record as the longest-running show in the history of the theater. Other New York credits include Lonnie Carter’s The Sovereign State of Boogedy Boogedy, presented by Woody King’s New Federal Theater, and Charles Smith’s Jelly Belly, which was produced by the New Federal Theater. Mr. Zacek is a professor emeritus of Loyola University and was included in 2005 in Utne magazine’s first-ever list of “Artists Who Will Shake the World.”
MARY GRISWOLD (Scenic Design) has previously designed three James Sherman plays for Victory Gardens, Half and Half, The Old Man’s Friend and her favorite, Affluenza!. A recent Chicago credit has been Jane Austen’s Pride and Prejudice, a Musical with Chamber Opera Chicago. She is proud to have served as a national and regional officer of United Scenic Artists, Local 829. Please visit her website marygriswold.net.
CAROL J. BLANCHARD (Costume Design) is thrilled to be returning to Victory Gardens Theater, where her work was seen in Love Person, Four Places, Hanging Fire and I Sailed with Magellan. She has designed for companies such as Cleveland Symphony’s Blossom Opera’s Falstaff, Skylight Opera’s La Traviata, La Boheme, The Barber of Seville, and The Marriage of Figaro, New York’s Hillman Opera’s Hansel and Gretel, Shakespeare in the Park’s Much Ado About Nothing, and A Winter’s Tale, First Stage Childrens’ Theatre’s Seussical and, The Sleeping Beauty, Karamu Theatre’s Devil Mas and Hamlet Jones, and the Champlain Shakespeare Festival’s Love’s Labours Lost and The Importance of Being Earnest. Her Chicago credits include Goodman Theatre/Silk Road Theatre’s Yohen, Drury Lane’s Barefoot in the Park and Of Thee I Sing, Porchlight Music Theatre’s Sweeney Todd, Pacific Overtures and Once on This Island, Appletree Theatre’s Wings and Match, PTAP’s 7 Doors and Einstein’s Dreams and The Silk Road Theatre Project’s Caravaggio, Merchant On Venice and Pangs of the Messiah. She has been honored with a Joseph Jefferson Award for Costume Design and an After Dark Award for her collaboration in the Silk Road Theatre’s Golden Child. She is a Professor Emeritus of Design at The State University of New York.
JESSE KLUG (Lighting Design) Victory Gardens credits include: The Elaborate Entrance of Chad Deity, Blackbird, Big Blue Nail, Hortensia and the Museum of Dreams. National Tour of The Screwtape Letters. Off Broadway: The Elaborate Entrance of Chad Deity at 2nd Stage, The Screwtape Letters at Westside Theatre, Romulus at Guggenheim Museum, The Hourglass at NYMTF. Regional: Mark’s Gospel (FPA), Ragtime, Cabaret, Miss Saigon (Jeff Nomination), Sweet Charity (Jeff Nomination) at Drury Lane, Fiddler on the Roof, 25th Annual Putnam County Spelling Bee, Nunsense at Marriott Lincolnshire, Aladdin, Mid Summer Nights Dream, How can you Run with a Shell on your Back at Chicago Shakespeare, Yeast Nation, Distracted, Hedwig and the Angry Inch (Jeff Award) at American Theatre Company, Oh Coward at Writers Theatre, Our Lady of the Underpass, Eliot a Solder’s Fugue, Blind Mouth Singing with Teatro Vista, Forever Plaid, A Funny Thing Happened on the Way to the Forum with Noble Fool, High Fidelity, K of D, On an Average Day with Route 66, Three Sisters with Strawdog (After Dark Award), Driving Miss Daisy, Voice of Good Hope with Boars Head Theatre, Respect at Cuillo Center, Chicago Tap Theatre with Bloomsburg Theatre Ensemble. Resident Lighting Designer for Drury Lane Oakbrook, Route 66, and Chicago Tap Theatre. JesseKlugLightingDesign.com.
SCOTT MILLER (Sound Design) selected design credits include The Tale of the Allergist’s Wife, Three Tall Women, Mountain, Criminal Hearts, The Gin Game, The Winning Streak, as resident Sound Designer for Apple Tree Theater. He was also the Resident Sound Designer for the Theater for Young Audiences program at Apple Tree Theater and the credits include The Cay, Roll of Thunder Hear My Cry, Will The Circle Be Unbroken, The Number Of The Stars, The Outsiders, Let The Circle Be Unbroken, The Devils Arithmetic, And They Came For Me. Scott has also held the position of resident sound designer for Lake Forest College where his design credits include The Unseen Hand, On The Verge, Rocky Horror Show, The Plough and the Stars. Other Credits include Arcadia at Loyola University’s Mullady Theater, The Lonesome West and Falsettoland at Niles North High School.
GRANT SABIN (Prop Designer) primarily works as a set designer in Chicago, but also acts as the charge scenic artist at Pegasus Players Theatre. He has had the great opportunity to teach scenic painting for Northwestern University’s Cherubs Program. He’s a company member and resident set designer for Dog and Pony Theatre designing their past productions of God’s Ear, Ape, Mr. Marmalade (Jeff Award Nominee), Dead City, Osama the Hero, and Crumble (Lay Me Down, Justin Timberlake). He’s a graduate of Columbia College with a BFA in theatre design where he was awarded the 2005 Michael Merritt scholarship for collaboration in theatre design. Recent set design credits include: Sweet Tea, About Face; Garage Rep, Steppenwolf; It’s A Wonderful Life, American Blues Theatre; Lucinda’s Bed, Chicago Dramatists; Assistant Set Design for A Midsummer Night’s Dream, Chicago Shakespeare; Whiff of Anarchy, The Seldoms; The U.N. Inspector, Next Theatre; Forbidden Broadway, Royal George; Dashiell Hamlet, Hound of the Baskervilles, The Juniper Tree, City Lit; Augusta, ATC; A Prayer for My Daughter, The 4 –H Club & Cowboy Mouth, Mary Arrchie; Crossing California, Lifeline Theatre; Faster, Thief River, The Side Project; Blasted, The Sea Horse (Jeff Award Nominee), A Red Orchid Theatre; Leaving Iowa, Royal George Theatre and The Overture Center, WI; and The Gift, Chicago Ballet. grantsabindesign.com.
JEFF MCLAREN (Assistant Director) is currently a marketing associate at Victory Gardens and is thrilled to join Dennis for Jacob and Jack. He is a company member of Wishbone Theatre Collective. Recent directing credits include the original play Spandex in association with DCA Theater’s INCUBATOR Series, Eric Levitz’s Without Parachutes at the Kennedy Center, and Neena Beber’s Italian Sojourn which he assistant directed with Wendy Goldberg at the O’Neill Playwrights Conference. Acting credits include a principal role in the original play The Decameron Project, performed in Edinburgh, Scotland at the Fringe Festival. Jeff earned a BA in Performing Arts from Clemson University.
REBECCA GREEN (Production Stage Manager) returns to Victory Gardens where her credits include Love Person and Jest a Second. Chicago credits also include assistant stage manager for Henry IV Parts 1 and 2, Short Shakespeare! The Taming of the Shrew, Romeo and Juliet, King Lear, The Two Gentlemen of Verona, As You Like It, Troilus and Cressida, The Winter’s Tale, Measure for Measure, and production stage manager for The Wizard of Oz, Shakespeare’s R & J, and Pericles at Chicago Shakespeare Theater; Menopause the Musical at Apollo Theatre; The Guys at Lakeshore Theatre; Over the Tavern at Mercury Theatre; the Ovations! Concert Series at Auditorium Theater; How I Learned to Drive, Master Class, and Cowgirls at Northlight Theater; Warp!, E.R./Emergency Room, and Bleacher Bums at Stuart Gordon’s Organic Theatre; Love Letters, Other People’s Money, and I Hate Hamlet at Royal George Theatre. New York credits include: Eric Bogosian’s Drinking In America, A Girl’s Guide to Chaos, and Abingdon Square at American Place Theatre. Love you Ruby, Stanley, Susan and Lee.
|A poster advertising Yiddish Theater. Photo by John D. Woolf. American Jewish Historical Society.|
by Jaime Totti
Early on in Jim Sherman's Jacob and Jack an actress performing in a tribute to the fictional Yiddish star Jacob Shemerinsky discusses why she agreed to appear in the show. “To do a tribute to the Yiddish Theatre? That's important,” she says, as she makes the case that the Yiddish theater is indirectly responsible for some of the greatest acting of the 20th Century. How can something so valuable be virtually unknown today?
From 1881 to 1924, over 2 million Eastern European Ashkenazi Jews emigrated to the United States. Most were young, fleeing the oppressive conditions of czarist Russia with their families and little money, seeking the promise of a new life in the United States. In Chicago, the Ashkenazi migration landed in what became known as the Maxwell Street district, bounded by the Chicago River to the east, Racine Avenue to the west, and Polk and 14th Streets to the north and south. They moved into the cramped tenement houses and were forced daily to deal with commonplace anti-Semitism outside the neighborhood. However, they did all they could to recreate their old shtetl lifestyle in their new land: creating a safe and familiar community in the midst of urban chaos.
It was this same sense of community that allowed for the creation of the rich, vibrant theater tradition in the language of the Ashkenazi: Yiddish. In the old world as much as the new, the Yiddish theater was a haven for the preservation and celebration of the Yiddish language. Outsiders to Ashkenazi culture viewed the Yiddish language as vulgar — whether they were Slavs in Russia, Romania, or Ukraine, or Irish, Italian, or German Jewish immigrants in the States. Amongst such ill will, Eastern European Jews relished having a sanctuary where Yiddish could be used to transmit the great stories of their past and of the world. One admirer, Dr. Abraham Margolin, states, “They lived and breathed with theater… which brought them unbounded joy, entertainment, relaxation and the culture they longed for… This theater, thus brought about by the innermost desires of the Jewish plain folk, became truly a “People’s Theatre” — a cultural institution. It was, at that time, the conveyor of the Jewish majority’s vitality and creativeness…”
Since its inception, the Yiddish theater in Chicago has had strong ties to its better-known New York cousin. The first Yiddish theater company in Chicago was founded in 1887 by a budding New York star, Boris Thomashefsky in the heart of the Maxwell Street district. However, the Chicago Yiddish theater scene did not become truly popular until the creation of the Metropolitan Theater in the 1890’s. Founded by Elias Glickman — himself a veteran Yiddish actor since his childhood in Russia — the Metropolitan produced a large number of Yiddish plays, often bringing to town such renowned actors as David Kessler, Molly Picon, and, perhaps the most famous Yiddish actor of all time, Jacob Adler. Glickman’s success as a producer continued in the early 20th century, when he founded the Palace Theater on Roosevelt and Blue Island Avenue. Glickman’s Palace was the crown jewel in the Chicago Yiddish theater circuit, but up until the 1930’s, there were several prominent and commercially successful theaters in the Maxwell Street district performing Yiddish work.
The works performed on the Yiddish stage were always varied. On the one hand, there was a healthy respect for great world theater — the Yiddish version of Shakespeare’s King Lear was particularly popular, as were the works of Goethe, Chekhov, Moliere, and Oscar Wilde. However, there was also a rich history of Yiddish literature to draw from as well. The works of classic Yiddish writers like Sholem Aleichem and I.L. Peretz were adapted for the stage, and old Jewish myths were found in plays like The Dybbuk, by S. Ansky. In Jacob and Jack, Shemerinsky is touring Chicago with a revue of the work of Peretz Hirschbein, a writer from the early 20th Century known for his pastoral romances featuring working folk.
The height of the Yiddish theater was during the 1920’s. By the 1930’s, however, all of Chicago’s resident Yiddish theater companies had closed. Many Ashkenazi Jews moved out of the Maxwell Street district, leaving Glickman’s Palace and its major competitor, the Lawndale Theater, without an audience. During this time, fans of Yiddish theater relied on touring companies from New York, as well as the Federal Theater Project’s Yiddish Theater division, to provide them with their beloved entertainment. Chicago’s last major Yiddish theater was the Douglas Park Theater, which from 1938 until its closing in 1951, was the only resident theater company in the city — in Yiddish or English. Even then, the other major Chicago theaters were frequently booked with Yiddish stars. When a touring company with a star like Jacob Adler came around, they were booked into some of the largest, most famous Chicago theaters. Yiddish companies likely performed in the Harris, the Civic Opera House, and the Blackstone (where Shemerinsky performs in the play).
By the latter half of the 20th Century, Yiddish theater nationwide was more or less gone. What was performed was often mediocre, considered merely a relic of a past age. “Yiddish theater was dying and everyone felt guilty about it,” says Edna Nahson, a professor at the Jewish Theological Seminary. More Jews moved out of the ghettos and tenements, becoming more assimilated into American culture, and fewer spoke or understood Yiddish — apart from the few words they picked up from their zayde (grandmother). Still, the effect Yiddish theater had on American art is undeniable. In addition to the financial success it brought to the producers of Second Avenue in New York and Maxwell Street in Chicago, it launched the careers of several great actors — most notably Maurice Schwartz and Paul Muni (nee Muni Wiesenfreund of Chicago before he moved to Hollywood). Indeed, the greatest star of the Yiddish theater, Jacob Adler, was the father of Stella Adler, one of the artists who revolutionized American acting. Despite its short lifespan, the Yiddish theater had a profound effect on the lives of its patrons, as well as on the life of American Theater.Jaime Totti is an Artistic Intern for the 2009/10 season at Victory Gardens. He recently graduated from Yale University with a B.A. in Theater Studies and moved to Chicago to pursue a career directing theater
Collaboration’s the thing for director and playwright
VG Press Release
World Premiere of Jacob and Jack Begins May 14
A good-time ode to stage and society
“Jacob and Jack” is a sentimental homage to the legitimate theater
Hilarious backstage world premiere farce is a gem!
Fun and witty, with a shmeer of the absurd