Features
Mud: Shtetl to Shoah
By DAVID TOPPER A Note to the reader: I will preface this story with a remark about me. I often write stories and poems using the pseudonym Dee Artea (pronounced D R T, my monogram) when writing in a female voice. But this is the first time I have put Dee into a story.
I’m trying to decide what to do with the document that you’re reading. You’ll see shortly, I’m sure, what I’m talking about – that is, if you read on.
I don’t know what to do. I’m stymied. And it’s all because of this new assistant I hired. Dee Artea, who refuses to tell me anything about her past. Not where she’s from, her family, nor even the origin of her name. Nothing. Beyond her being Jewish, I don’t know anything about her.
Well, to be precise, I didn’t hire her, and I guess calling her an assistant is not quite right either – since we’re living together. So, I can’t really fire her, can I?
Which is why – or, at least, one reason why – I’m stymied.
Plus, it just occurred to me that you may agree with her point of view – and then, so-to-speak, take her side on this matter. Well, so be it. Still, what to do?
Many readers will agree with me. My point-of-view, I’m sure. Yes. I am.
There you go. That’s my friend Dee, butting in and making her point. Forcefully, I would say. What should I do about her, short of putting a password on my computer?
In the meantime, I need to bring in some back-story.
It all started when Dee saw my heart-rending book of Roman Vishniac’s photographs of Jews living in the Pale of Settlement in the 1930s. … Wait, before that: I wanted to write something for the local Jewish paper about the pogroms of the late 19th & early 20th centuries as precursors to the Shoah. … No, that’s not it, either. … I need to go … further back. Yes, here goes.
I first met Dee, who was out of a job. I think she got fired for insubordination and th—
That’s what my boss called it. Actually, I was just correcting his mistakes. Proofreading and such.
Okay, anyway, we met one warm day this past spring when I was sitting on a bench in the English flower garden in Assiniboine Park, reading a book. As she walked by, she noticed that I was reading a book of stories by Sholem Aleichem, so she sat down beside me and started a conversation. She immediately told me that Sholem Aleichem (meaning “peace to you”) was the pseudonym of Solomon Rabinowitz, born in the Ukraine in 1859 and one of the most famous Yiddish writers of fictional stories of shtetl life; but, having witnessed a vicious pogrom in 1905, he emigrated, and eventually settled in New York City for the rest of his life – all of which I already knew (well, maybe not the exact dates).
It was quickly clear that Dee was bright, Jewish, and knew a lot about some of the same things that fascinate me in Jewish culture and history. We “hit it off” as they say. Indeed, it was uncanny how much we thought alike – well, at least, on most things. When we parted and decided to meet on this same bench the next day, I thought to myself: bashert.
That’s a very strong statement, I’d say. Don’t you think?
Yes, indeed.
Well, clearly, I liked her. But I must say that I wasn’t attracted to her. She was friendly and all, but not physically appealing. To be honest, she looks a lot like me – which isn’t a compliment, since I’m a man. We are moreover about the same height, complexion, and body weight. There’s nothing particularly feminine about her physique and manners. Nonetheless, over time (really the short time we’ve been together) I’ve moved beyond these external matters, as we’ve become closer, a lot closer, as intellectual – and I might even say, as spiritual – mates.
Despite looking alike, we have different personalities. I’m the rational, level-headed guy, calm (at least, externally so) under pressure. Whereas Dee is passionate, compulsive, and readily shows her emotions. Of course, there is nothing unusual about this classic male/female dichotomy. Cliché? Well, so be it.
You know, there’s a reason for all of this, eh?
In subsequent meetings – initially in the park, then later in my home – I showed her my writings and told her about my research and plans for an essay on the 19th & 20th century pogroms, as portending the Shoah. She was very knowledgeable on this topic, and diligently read over the draft of my essay, correcting my mistakes as she went along. Her proofreading I found very helpful and not at all intimidating. Her changes to my original draft made it a much better essay. And I’m thankful to her for it.
As you should be.
Once she moved in with me, she had access to all my books. Quickly she read all the stories I have by Sholem Aleichem, which was the catalyst of our relationship, as you know. Next came Roman Vishniac’s book, mentioned before. Specifically, it’s called A Vanished World, published in 1983, with 180 photographs of life in the shtetls in Eastern Europe between 1935 and 1938.
Either Dee found it, or I pointed it out to her – but, in either case, she read the book and devoured it. She could not stop speaking about it for days – yes, days. She was that obsessed with it.
Yes, and I’m still obsessed because these pictures are almost too painful to look at. They break my heart. They should break yours too.
Yes, I agree. And it occurs to me that this is a good time to bring in some more back-story. Here goes. Roman Vishniac (1897–1990) was born in Russia and grew up in Moscow. In 1918 the family moved to Berlin (ironically because of the rise of anti-Semitism in revolutionary Russia). Hence it was from Germany, although sponsored by – namely, paid for – by the JDC (American Jewish Joint Distribution Committee), that Vishniac made several trips into Eastern Europe to photograph Jewish life. He frequently used a hidden camera to capture everyday life in the world of the shtetl (Yiddish, for “little town”), as immortalised, as was said, in the stories of Sholem Aleichem.
Since his trips took place in the years 1935-1938, the title of his book, A Vanished World, had a doubly tragic meaning: that the world of the shtetls was gone, but so were the lives of the people in the photographs, almost all of whom most likely perished by coldblooded murder. Vishniac himself narrowly avoided being another victim of the Shoah, but luckily ended up in 1940 as a refugee in the USA – alive, yet penniless, trying to make a living by taking pictures of people in and around New York City.
You know, he once took a series of pictures of Einstein.
I know.
Ah, of course, you would know that. Oh, and did you know that there is a crater on the planet Mercury named Sholem Aleichem?
Yes.
As I suspected.
As mentioned, many of Vishniac’s pictures were taken in the Pale of Settlement in Eastern Europe. This was a clearly marked area, roughly comprising Lithuania, Ukraine, Belarus, and parts of western Russia and eastern Poland (including Warsaw). It was the creation of Imperial Russia under Catherine the Great and was controlled by the Russian army. Recall, for example, that the Jews in 16th century Venice were segregated or quarantined into what was called for the first time a “ghetto.” Well, I would call the Pale of Settlement that began around the late 18th century, a ghetto writ large. Except for Jews with specific professions, businesses, or other situations (such as Vishniac’s father, when they lived in Moscow), all Jews were forbidden to live or even to just be anywhere outside the Pale (such as in Russia proper) – a rule that was strictly enforced until 1914, around the start of the First World War.
Since Vishniac grew up in Moscow, he had a childhood that was fundamentally isolated from Jewish culture.
Yes, that’s true. Thus, those years in the Pale were his first exposure to shtetl life. Incidentally, to be accurate, the area over which Vishniac roved in those years 1935-1938 encompassed more than the Pale. It also covered other parts of Eastern Europe, such as Austrian Galicia, the Kingdom of Romania, and the Kingdom of Hungary – for they too had shtetls scattered throughout their lands.
Nonetheless, having so many Jews concentrated in such small areas between the east and the west, made them (crudely put) sitting ducks. Or, switching metaphors, the Jewish shtetls were islands in a sea of Christianity, prone to occasional violent storms or even hurricanes of hostility, often resulting in the loss of life. This was true, first with the series of pogroms out of Imperial Russia in the 19th and early 20th centuries in the Pale of Settlement; then, later, as armies criss-crossed Eastern Europe during and between the two World Wars. Whether it was the German army moving east, or the Russian army moving west – it didn’t matter. With the breakdown of the rule of law, murder became ordinary: gentile neighbours just walked in and killed Jewish neighbours, confiscating their homes, belongings, and land. The lawlessness often led not only to brutality, where Jews could be slaughtered where they lived, but also to sadistic acts of humiliation, torture, and rape – before being butchered. Then there were the mass executions where men, women, and children were marched into nearby forests or open fields or over ravines or along riverbanks by German army units, often accompanied by local militia (collaborators), and shot point blank – the bodies then dumped into mass graves or allowed to float down rivers to a grave in the sea.
Do you know what happened in Latvia under German occupation?
Sadly, I do. In German-occupied Latvia, a blue bus of commandoes (Germans and locals) traveled the countryside for six months (July – December 1941) killing the Jews of the towns and villages, murdering over 22,000 innocent children, women, and men – one-third of the population of Jews in Latvia. They went on to assist in other killings, so that the entire Jewish population of Latvia – minus a few survivors – died in the Shoah. These Nazi mobile killing units, roaming throughout Eastern Europe, slaughtered more than one-million Jews – often wiping out entire communities. Such extreme, excessive, meaningless, malicious, senseless, and unprovoked cruelty – is unique in history.
Importantly, today sites of these past atrocities are being excavated in Eastern Europe, as this mass murder is finally, painstakingly, and painfully exposing its gruesome tale.
Yes, finally. Historian Timothy Snyder has called these the European “killing fields.” Let me put it in perspective this way. Probably the common mental image of the Shoah for most of us is that of emaciated prisoners in a concentration camp, such as Auschwitz. However – and this is not commonly known – in fact, more Jews died in these killing fields than in all the camps combined. It’s what has been called “the other Holocaust.”
As you know, I too have read Snyder’s book. I agree with him when he says that “the crime of the Holocaust was unprecedented in that it was the only such attempt to remove an entire people from the planet by way of mass murder.” Indeed, he calls it “the single most murderous outburst in human history.” You know, I sometimes have trouble sleeping at night, knowing so many died in vain, while I’m living peacefully in my bubble in Winnipeg.
Yes, Dee, me too, as you know.
But back to life in the shtetls throughout Europe because there’s more I want to say, starting with another topic that deeply haunts me.
Ah yes, the other Vishniac book.
This other book is titled Children of a Vanished World, published in 1999 (after Roman died) and it is edited by Mara Vishniac Kohn (Roman Vishniac’s daughter, who chose the pictures from her father’s massive oeuvre) and Miriam Hartman Flacks (a Yiddish scholar). The text is in Yiddish (with English translations), plus some poems and music. The main motivating force of the book (for me, at least) is the imagery: 70 black & white photographs, exclusively of children, making it another “Vishniac book” that tugs deeply at the reader’s emotions. So many child Shoah victims: 1.5 million, who perished in the madness of hate – epitomized in these 70 or so innocent faces.
So difficult to look at these pictures and not imagine how, in addition to their already hard lives in the shtetls, they were destined to experience a horrific fate.
To me, the photographs reveal how the life of many shtetl dwellers was, in itself, miserable.
Yes, life in the shtetl was much worse than most of us realize. Actually, it’s there in Sholem Aleichem’s stories, if you look closely.
True, although there were also wealthy Jews here and there. Rich merchants, for example, usually living in large cities, such as Warsaw, Cracow, or Lviv. Perhaps epitomized by the Rothschilds in Paris.
Remember Shalom Aleichem’s story “If I were Rothschild?” An amusing little story where he dreams about what he would do with all that money, starting with paying for his Sabbath meal, then further helping his family, friends, others, and then all the Jews of the world. In fact, with all that money he could end all wars. But then he realizes that the source of all this trouble is money itself, and so he eliminates money altogether.
And so, he ends by asking: How will I now provide for the Sabbath? – thus coming full circle. Which brings me back to the lowly life of most Jews, especially in the Pale and other shtetls, which was economically bleak, with many living in poverty. Women worked almost exclusively in the home, of course. Men were primarily tailors, artisans, shopkeepers, carpenters, cobblers, push-cart peddlers, and tax collectors – as such they often interacted with their non-Jewish neighbours in the village and sometime at weekly fairs. Few Jews farmed because (with some exceptions) Jews were not permitted to own land. When they did own land, what was allotted was often of poor quality for growing crops. Overall, therefore, they were forced to live in the shtetls, where the buildings were shabby wooden structures, and the streets were unpaved.
Yes, and unpaved roads turn to mud when it rains. Mud, mud, lots of mud. Allow me to quote from a landmark book on shtetl life: “In the summer the dust piles in thick layers, which the rain changes to mud so deep that wagon wheels stick fast and must be pried loose by the sweating driver, with the assistance of helpful bystanders. …When the mud gets too bad, boards are put down over the black slush so that people can cross the street.”
Yes Dee. And because of the extensive poverty, Jewish organizations within the shtetls set up a social welfare system, with free medical treatment for the poor. According to some historical statistics, no shtetl in the Pale had fewer than about 15% of Jews receiving tzedakah (charity or relief). Some sources say the number was even as high as over 30%.
There is nothing to romanticize about in such a life. Believe me. A life steeped in mud.
Agreed. Nonetheless, and against these grave odds, the Yiddish-speaking culture flourished. Valuing education and intellectual proclivity, most males were literate (unlike many of their gentile neighbours, such as the peasants).
Here’s a line from a story by Sholem Aleichem: “Earlier in the day the ice had begun to melt, and the snow had turned into waist-high mud.”
The modern Yeshiva system developed too; here students learned Hebrew under a melamed (teacher), of course Hebrew being the alphabet of Yiddish. Showing Jewish fortitude and resilience, they were able to make a life out of the bleak world of the shtetl.
“Joseph the Righteous took my hand and we leaped across the mud. Night was drawing closer and closer, and the mud became deep and deeper. I imagined I had wings, I was being wafted in the air.”
For them the “shtetl” was not the place: it was the people. And the “home” was not the house: it was the family.
“I was plodding through the mud alongside Methuselah, … who pulled his legs from the mud.”
Such dogged spirit produced Sholem Aleichem, whose most well-known creation was Tevye the Dairyman.
“Well, from all the good luck, nothing is left, but nothing, nothing but mud.”
From his stories of Tevye came the Broadway musical and film Fiddler on the Roof. One of the highlights of Fiddler is the scene showing a pogrom, which disrupts the otherwise joy of a wedding scene.
“They slogged through the clay mud and seated themselves on a log.”
As depicted in the play and film, however, this pogrom is mild as far as pogroms go; it’s more like a nasty act of vandalism.
No wonder Philip Roth called Fiddler “Shtetl Kitsch.” And Cynthia Ozick said it was an “emptied-out, prettified romantic vulgarization” of literary master Sholem Aleichem’s Yiddish tales.
One of the first series of pogroms took place in Odessa in 1821, where 14 Jews were killed.
“Around here the mud is so deep that it took the wagon all night to pull through the town.”
But in the late 19th century and into the 20th century it got worse. A series of about 200 pogroms took place from 1881-1884 in the Pale. Thousands of Jewish homes were destroyed. At least 40 Jews were killed and there are reports of 100s of rapes. The next wave was 1903-1906 and much bloodier with over 2000 Jews killed.
“For a time, it even looked as if I might spend Passover axle-deep in mud.”
Thus, from the 1880s to about 1914, over 2 million Jews emigrated out of Russia ending up primarily in the UK, USA, & Canada. I’m sure many readers are where they are today because their forefathers and foremothers came over in one of those human waves.
“She admits that she’s a tinderbox. When a bad mood hits her, she’ll throw mud at anyone.”
Sounds like you, Dee. You, the passionate one.
“We greeted and shook hands, with me knee-deep in the mud.”
But this is enough, already. Stop it. Yes, Sholem Aleichem called attention to the role of mud in shtetl life. So Dee, you’ve made your point.
Time to end this tale. … Now!
And, Dee, you know what? Despite my original misgivings about your insufferable intrusions in my story – I’ve decided to keep them where they are, for they force me to acknowledge the hardship of the Jews in the shtetls. Considering that this culminated in the Shoah, I see them as appropriate for such a terrible tale that is often difficult even to fathom.
From mud in the shtetl to mud in the mass graves – mud has become for me both a reality and a metaphor for all the pain and sorrow of our people in Europe before the rebirth of Israel.
Albert Einstein was mentioned by Dee, and so I’ve added this, to give some levity to what is otherwise grim and depressing.
As mentioned before, when Vishniac was a new immigrant in New York he earned a living by photographing people. One day he traveled to Princeton, New Jersey, where Einstein lived. Vishniac falsely told the guard at the Institute where Einstein worked that they had known each other in Germany, and thus gained access to Einstein’s office. Einstein was sympathetic to a fellow Jew, a refugee too, and thus allowed Vishniac to take pictures of him while he was working in his office that day doing mainly mathematical calculations, either on paper at a desk or on several blackboards on the walls. Among the many famous portraits of Einstein is one by Vishniac, which you will find on the Wikipedia website for “Vishniac.” I must say, however, that I question the assertion there, that it was Albert’s favourite portrait of himself.
I also wish to point out that throughout the 1930s and into the 1940s, Einstein, using his celebrity status, worked tirelessly writing letters and such, to get Jews out of Nazi Europe – and was successful in many cases.
Since Fiddler on the Roof was mentioned above, here are a few comments on it, considering the theme of this story.
First, Fiddler was preceded by the Yiddish movie Tevya by Maurice Schwartz in 1939, a symbolic year, with the start of the Second World War. Although once thought to be lost, a print of the film was discovered in 1978, and it is now in the US National film Registry by the Library of Congress. In black & white, with English subtitles, Tevya is worth watching for historical reasons, but otherwise it also romanticizes the lives of the Russian Jews. Indeed, it ends, not with a pogrom, but a mere eviction of Tevya and his family from the village they were born into. Incidentally, there were also some earlier theatre productions based on the life of “Tevya the Dairyman.”
As for Fiddler – music by , by , and book by Jose – it was first a stage musical in 1964. The title comes from a painting by Marc Chagall (who made a harrowing escape from the Germans by being smuggled out of Nazi-occupied France in May 1941), and as such, the set and scenery of the stage productions mostly reflected the brightly coloured palette of his paintings. The 1971 film, in colour, was probably grittier and more realistic than most of the stage productions. Nonetheless, after watching it again, I must say that it lacks the necessary mud. There’s lots of dirt, well-packed dirt, and the occasional dust – but no mud. Not until the very end, when all the villagers are leaving Russia in the winter, with a layer of snow on the ground; and, at one point, a wagon gets temporarily stuck in a (muddy?) rut, but it’s immediately pushed out – a brief moment, a fraction of a second. That’s it.
Here’s a short, Annotated Bibliography.
- Sholom Aleichem, Favorite Tales of Sholom Aleichem, trans. by Julius & Frances Butwin (New York: Avenel Books, 1983). Note: most sources spell his first name as Sholem. This book contains 55 story stories. Of course, the quotes about mud are clearly Yiddish exaggerations – but, in having done so, they speak of the true misery of shtetl life.
- Wendy Lower, The Ravine: A Family, A Photograph, A Holocaust Massacre Revealed (Boston: Houghton Mifflin Harcourt, 2021). This is an extraordinary work of historical research. But it’s an extremely painful book to read, for it takes the reader through the details of a specific murder of a woman and a child in the Holocaust. Now, multiply that horror by millions. This book is in the Winnipeg Library system.
- Timothy Snyder, Black Earth: The Holocaust as History and Warning (New York: Tim Duggan Books, 2015). This too is a painful-to-read chronicle of the “other Holocaust” in Eastern Europe, which at the time was the heartland of world Jewry. Multiple copies are in the Winnipeg Library system.
- Roman Vishniac, A Vanished World (New York: Farrar, Straus, & Giroux, 1983). Out of print. Many of the pictures are mesmerizing. I treasure my copy.
- Mara Vishniac Kohn and Miriam Hartman Flacks (editors), Children of a Vanished World (Berkeley: Univ. of California, 1999). There is a copy of this book in the Winnipeg Library system. As said: it’s heartbreaking to look at these pictures of children – and to contemplate their fate.
- The archives of Vishniac’s estate were deposited in 2018 in the Magnes Collection of Jewish Art & Life in the Library of the University of California, at Berkeley. For the scholars – or future scholars – out there.
- Mark Zborowski & Elizabeth Herzog, Life is with People: The Culture of the Shtetl (New York: Schocken, 1952). 1995 reprint. This is the “landmark” book mentioned in the story. The quotation is from page 61.
Features
How Casino Games Travel From One Generation to the Next
On a weekday afternoon in a community centre, the loudest table in the room is usually the Mah Jongg game, with the scoring done in pencil and the snacks taken very seriously. Every spring the National Mah Jongg League sends out a new card of hands, and for the first few weeks afterwards the games run slowly while everyone learns them.
When the Museum of Jewish Heritage in New York staged Project Mah Jongg in 2010, in a show that later travelled to other museums, it treated the game as social history, following it from the 1920s through suburban living rooms and Catskills bungalow colonies. The exhibition’s argument was that a game hands down the room it was played in and the people around the table along with its rules, and those are the parts most likely to change when a game moves onto a screen.
Games with a season
Many of the games people remember best were tied to an occasion. Card tables came out at the cottage in July and went back into the closet after Labour Day. A euchre night, especially in southwestern Ontario, belonged to a hall or a legion branch. Canasta, which arrived from South America after the war and was a full-blown craze by the early 1950s, usually meant four friends on a Tuesday.
Mah Jongg keeps its own calendar. The League was founded in New York in 1937, and its annual card resets the game each year, so players across the continent learn the same new hands at the same time. That stops a game passed from one circle of friends to the next from splitting into a hundred local versions.
One card, one wheel
A game handed on by word of mouth tends to pick up house rules and personal habits as it moves between generations. Sit down at a Mah Jongg table or a physical casino wheel, and much of the game is governed by unwritten etiquette – verbal call bets handed down by older players, informal table compromises, and generational betting habits. Software replaces that social latitude with strict standardization. In a game of online roulette, for instance, the wheel geometry, bet timing, and paytables are hardcoded into the code, leaving no room for the local habits or informal dealer calls that shaped physical play for generations. What the software can’t pass along is the room. Live versions of the game, streamed from a studio with a person spinning the wheel and calling the number, bring back a voice and a face. The regulars are harder to stream. A studio table has players but no Thursday night, and none of them knows whose turn it is to bring the coffee.
At a card night, somebody always announced the last round, and the evening ended when the host started folding up the tables and people went looking for their coats. A screen doesn’t do that, so adults who play online for entertainment are better off settling a spending limit and a stopping time before they begin.
What outlasts the game
The summer resorts ran to a calendar as well, and Grossinger’s, which closed in 1986, is the one people still name first. The Forward’s piece on how Jews learned to be American at Grossinger’s, which this paper reprinted, reviews We Met at Grossinger’s, a documentary about the resort’s dining, dancing and shows and the thousands of couples who met there. The review doesn’t mention a single card game, and it doesn’t need to. What people remember about those summers is who they sat with. Ask someone who played in a regular game for years about a particular hand and they’ll usually draw a blank. They’ll know exactly who always turned up late with the rugelach, though, and whose kitchen the game moved to after the old community hall closed. Those are the details the next set of players inherits.
The League’s card is a large part of what keeps Mah Jongg going. It gives every table something new to argue over each year (plenty of groups order their cards together so nobody starts behind), and when next spring’s card arrives, the arguing at community centres in Winnipeg will start well before anyone has learned the new hands.
Features
There’s nothing Jewish about this classic American comedy — except just about everything
September 22, 2026
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
Ben Hecht and Charles MacArthur’s 1928 Chicago newsroom comedy The Front Page was so famous that when Harry J. Romanoff died in 1970, his New York Times obit referenced it. And in a 1986 review of a revival with John Lithgow as the conniving editor Walter Burns and Richard Thomas as the ruthless reporter Hildy Johnson, Frank Rich asked: “is there anyone who hasn’t seen The Front Page?”
Staged by George S. Kaufman and produced by Jed Harris, the original ran at the Times Square Theater for 276 performances. It has had many lives, including Howard Hawks’ fantastic 1940 screwball comedy, His Girl Friday. Hawks brilliantly turned the bromance into a he-she love story, casting Cary Grant as Walter Burns and Rosalind Russell as Hildy. He also softened the script so that it passed The Hays Office — the film censorship bureau named for ex-Postmaster General Will H. Hays.
The play’s many admirers include Walter Kerr, another New York Times critic, who, writing about a 1969 revival, memorably described it as ” like a watch that laughed.” David Mamet praised Hecht and MacArthur’s satire in several places, once calling it “arguably the best American play.” Tennessee Williams wrote that it “uncorseted the American theater,” and Kenneth Tynan and Tom Stoppard loved it.
Hecht, who, according to researcher Jesse Tisch in an essay on Medium, did the majority of the writing, died in 1964 and our century seems more ambivalent about the play. Some critics loved the 2016 Broadway version, which Jesse Green, then of New York Magazine, said had been pieced together from several scripts. That production’s all-star cast, including Nathan Lane as Walter Burns and John Lithgow as Hildy did not prevent the late Terry Teachout from calling it “toothless.”
Part of the play’s slide may be related to the demise of legacy journalism. Chicago is down to two newspapers from the seven of the era of The Front Page. And part may be style. The long, crowded scenes lack the propulsive energy of a lot of streaming-influenced drama and the characters lack the tormented interiority many theater audiences have come to expect.
Now, the first major production in ten years — by the playwright Jeffrey Hatcher, best known for Compleat Female Stage Beauty, which became a film starring Billy Crudup, and for a 2022 stage adaptation of Dial M For Murder — has opened Northlight Theatre’s inaugural season at their $33 million building in Evanston.
Set in a crummy press room in the Criminal Justice Building in Chicago, The Front Page was the first Broadway show about zany, wisecracking journos and the corrupt politicians they took down. About to quit the paper, get married and move to Buffalo, Hildy Johnson stumbles onto death row inmate Earl Williams’ jailbreak. Walter Burns wrangles Hildy into covering one last scoop.
The play uses many sources, some of which contradict each other. In Chicago, Hecht had both devoured and befriended the Jewish comics of the day. He loved clowns, including The Marx Brothers. The Cocoanuts, the 1924 Marx Brothers’ Broadway madcap vehicle that George S. Kaufman wrote and directed and Irving Berlin wrote music for anticipates certain elements of The Front Page. Set in a resort hotel instead of a newsroom, its crime and con-filled ambiance and fast-talking shyster characters seem like a prequel to Hecht’s drama.
But The Front Page also came out of the imagination of a first-generation American Jew who came of age in the 1910s. Born in 1893 in New York, Hecht moved west with his Russian immigrant parents, settling at age ten in Racine, Wisconsin. He arrived in Chicago when he was 16, became a journalist and hung out with figures in that city’s Literary Renaissance, most of whom were not Jewish.
Hecht had an enduring but tormented friendship with the writer Max Bodenheim, who was raised Jewish. It began with the men collaborating on plays and starting a modernist magazine, The Chicago Literary Times, and descended into each satirizing the other in novels. Even worse, Bodenheim seemed to become Hecht’s evil twin. Like Hecht, Bodenheim was a provocateur. Like Hecht, he moved to New York. But where Hecht flourished, Bodenheim crashed into poverty. Hecht helped him financially. But he couldn’t save him. In 1954, Bodenheim and his third wife were brutally murdered in their apartment.
If Bodenheim was a daredevil, Hecht was a fabricator. He embellished his nonfiction, including chunks of his 1921 and 1922 column for The Chicago Daily News, “1,001 Nights in Chicago.” Hecht’s Chicago peers mostly tolerated his provocations and fabulations. But as he grew famous, they became less tolerant. Writing in 1973, after Hecht’s death, Norman Mailer wrote that he was “never a writer to tell the truth when a concoction could put life in his prose.”
And yet to say that The Front Page is just an embellishment seems wrong. It is based in real life. Jazz Age Chicago had plenty of newspapermen, (some Jewish) who regularly impersonated people with accents, tall tales and disguises to get stories. The city was full of Jewish criminals too, like Ike Bloom, who ran Midnight Frolics Cafe, a nightclub Hecht frequented. But the central characters Hecht and MacArthur used as models for The Front Page were not Jewish. Walter Burns is based on Walter Howell, a famously Machiavellian editor. The death row murderer Earl Williams is based on Tommy O’Connor, a convicted murderer who was never captured after he escaped the county jail in 1921.
Though Hecht didn’t write The Front Page until he left Chicago for New York in 1924, he continued to identify with the city — or at least his version of the city. In Hollywood where he won his first Academy Award for the silent gangster film, Underworld, he wrote dozens of movies including Notorious, Scarface, Twentieth Century, Design for Living and Wuthering Heights and ghostwrote Gone With The Wind, Stage Coach and A Star is Born. “He invented 80% of what is used in Hollywood movies today,” Jean-Luc Godard said in 1968.
Hecht liked to say that “he became a Jew at 39” in the late ’30s, when he took up anti-Hitler activism. He wrote polemics entreating Americans to pay attention to Hitler and pageants, such as one staged in Madison Square Garden, encouraging the country to attack Germany. As the scholar Liesl Olsen has written, he was “a heroic truth-teller who demanded that his country act decisively during modern history’s blackest hour.”
But recent biographers have complicated the idea of Hecht’s Jewishness as a midlife discovery. In the words of one, Adina Hoffman, he was “divided,” the man who grew up hearing Yiddish. And he was, like a lot of Jews of his generation, not observant, instead using journalism and the performing arts to express his Jewishness. In his Chicago days, literature and theater were his response to literary friends (and enemies) characterizing his Jewishness in one way or another. Carl Sandburg affectionately referred to him as the “Jewish Huck Finn.” Ezra Pound (less affectionately) called him “Rabbi Ben Hechtenberg.”
Hecht had to protect himself, either by acting tough, or by submerging himself in characters and fantasies. So he turned to theater. In Chicago, he wrote plays with Sherwood Anderson and then with the founder of The Goodman Theatre, Kenneth Sawyer Goodman. In New York, he briefly hung out with the Algonquin Table set, many of whom dabbled in theater. But it was not a mutual admiration society. Dorothy Parker complained about his “smiling and swaggering savageries” and Alexander Woolcott wrote, “Hecht’s favorite character in literature is the disconcerting little boy who, when the King paraded in the imaginary robe, cried out: ‘But he hasn’t got anything on!’” Even the actor George Jessel, meeting Hecht during a rehearsal of The Front Page, described him as a yokel “wearing a loud red tie and a shirt that might have been used as a stage curtain for a troupe of very gay midgets.”
In The Front Page, Hecht and MacArthur wrote a play that, with its profanity and cynicism towards politicians and journalists, initially attracted the attention of the police, who sent stenographers to note the supposedly pornographic dialogue. But nothing much came of the outrage except that the play became a hit. Nearly 100 years later, the classic vehicle seems, at first glance anyway, more charming than shocking.
The new production is directed by Northlight Artistic Director BJ Jones, who was an unofficial associate at Skokie’s now-defunct National Jewish Theater in the 1980s and 1990s.
Jones sees The Front Page’s legacy in 20th century Jewish writers, especially ones with a Chicago connection — David Mamet’s scurrilous language, Larry Gelbart’s rat a tat dialogue in M*A*S*H.
Reading The Front Page now you also might get the sense of a Jewish play manqué: its outsider characters, its energy, its cynicism. Jeffrey Hatcher, who adapted it, says. “It’s Jewish in the same way as you could say about Irving Berlin, ‘there’s nothing Jewish about him except for everything he says.’ You feel it in the razzamatazz of the talk.”
Here are the first lines of the original 1928 script, in which the guys are playing poker:
The Card Players: crack it for a dime….by me…I stay…me too….I’m behind again…I was even a couple of minutes ago… papers…three…two…three to the dealer.
The scene is urban melting pot! Jazz! Vaudeville! As Hatcher puts it: “The play is chock full of Irishmen, Wasps, Presbyterians. But Jews are not there except in the style and verve of the language.” For his part, he names Officer Jacobi, who in the original is “voice from jail yard.” And he adds Abramovitz, an offstage journo.
Hatcher also wisely kept the gender-flipped casting from Howard Hawks’ His Girl Friday, in which star reporter, Hildy Johnson, was played by Rosalind Russell. He whittles down the play from three acts to two and the cast from 23 to 13. And he cleaned up some of the slurs. Like Hildy calling Jacobi “pickle nose” and the word “sissy.”
He did, however, keep “Polack Mike.” “We don’t want to blunt the knife so that it’s a butter knife,” he said.
Still, there is something constricted in The Front Page. The long scenes are sometimes funny, but also cruel, this world where nepotism and corruption rule, violence is king, and an editor and a politician manipulate everyone. If Hecht’s divided Jewishness led to his outsider take on Chicago journalism, his world can also seem hollow.
In the famous last scene, Walter lets Hildy go off to get married and even gives the happy couple his watch. The minute they leave, he calls his henchman to get the police to arrest them. And then he delivers the fabulous last line as if he himself even believes it: “The son of a bitch stole my watch!”
In 1928 the phrase “son of a bitch” shocked audiences. Now it seems quaint. But the vignette made me consider how the play takes people’s selfishness and cruelty for granted. Those in charge are so glib about the lives of others, including those they supposedly love. It barely seems like a comedy anymore; it’s too real.
*
Rachel Shteir, a 2025-6 Guggenheim Fellow, is working on a book about why theater matters. Read full bio →
This story was originally published on the Forward.
Features
In memory of Joan Druxman
By BERNIE BELLAN In May 2023 I wrote a story about Joan Druxman, whom I had just met in person when she was a guest speaker at the Remis Luncheon series that month.
Sadly, Joan passed away on September 5, after a brief illness. My original story received over 4,000 views, so I thought it worth repeating here, to honour the memory of a vivacious and fascinating woman. Here is that story again:
The February 21, 2001 issue of The Jewish Post & News had an article titled “It’s a Comedy Night!”
That article went on to describe an upcoming event in which State of Israel Bonds would be honouring Rabbi Alan Green. Among the comedians to be appearing at the event was to be “Joan Druxman-Jones.”
Now, 22 years later, State of Israel Bonds doesn’t have an office in Winnipeg, Rabbi Green doesn’t live here any more (although he will be returning this weekend as the Shaarey Zedek’s Rabbi in Residence during Shavuot) and, as for Joan Druxman-Jones, well, she is back in Winnipeg – after having left in 1990 – and after having had a tumultuous series of career changes throughout her life –and, after having dropped the Jones in her name and gone back to Joan Druxman.
Joan Druxman was the guest speaker at this year’s kickoff Remis Forum luncheon on Thursday, May 11, at the Gwen Secter Centre.
I had never met Joan prior to that Thursday, although advertisements for her well-known women’s clothing store, “Joan’s Boutique”, were a regular feature in our paper for years. Once she took the podium at the Gwen Secter Centre it was easy to see how Joan had been a successful model for years. She still maintains a shapely figure and, even at 83, Joan is quite an attractive woman. (Is it okay to say that, I wonder? Who knows what’s permissible nowadays to write about a woman – or a man, for that matter, when it comes to physical appearance?)
But, more than anything, what struck me in listening to Joan tell her life story was her ease in speaking, her quick wit, and her self-effacing sense of humour.
As Simone Cohen Scott noted in an email sent out to Remis Forum attendees (and, by the way, anyone can attend a Remis luncheon. Just let the Gwen Secter Centre know you’re coming by the Tuesday of that week’s luncheon. Call 204-339-1701.), I took “voluminous notes” while Joan spoke.
So, here’s my account of the story Joan told: Born in Winnipeg, Joan (whose maiden name was Zelcovich, she said), grew up in Estevan, Saskatchewan, and moved back with her family to Winnipeg when she was 15.
Joan explained why her father decided to move to Winnipeg. He had owned a successful hotel in Estevan, but many of the patrons of that hotel were rough-hewn oil workers from the area around Estevan. “My father wasn’t about to let those oil workers anywhere near his two teenage daughters,” Joan said. (She had a younger sister at the time they moved here.)
But, the summer before the Zelcoviches moved to Winnipeg, they spent part of that summer at Clear Lake.
There were a lot of Jewish girls at Clear Lake, Joan noted, but they snubbed here because of the way she dressed. “They thought I was a hick,” she said.
That fall though, when Joan began attending Kelvin High School, and she was introduced by the teacher to the other students, the other girls couldn’t wait to be her friend, Joan said. This time she was dressed to the nines, she noted – something that has been very important to her ever since, she also observed.
As she noted toward the end of her talk, “I firmly dress the way you want to be treated.”
But from where did get Joan derive her impeccable fashion sense?
“My mother subscribed to the New York Times Magazine. It was the Vogue of the day,” she said.
Sure enough, when she was only 16, Joan got her first job working at the Mirror Room in the Hudson Bay store while she was attending high school.
After attending Kelvin for a couple of years Joan decided to attend the University of Manitoba. (In those days, she explained, you could take Grade 11 at the university.)
As things turned out, however, and as Joan observed, university was not for her.
“I hated it like you can’t imagine,” she said. “When I got 17 in Biology I knew university was not for me.”
So, Joan decided to enroll in the Angus School of Commerce (which was owned by Janice Filmon’s father at the time) where she obtained her diploma in typing and shorthand. “I was a wiz on the Dictaphone,” she noted.
But, she had to find a job after graduating. “I saw an ad for a company called Gunn Garment, which was owned by Harry Silverberg and Dave Kaufman, and which was managed by Max Duboff.”
“I became Max’s secretary and house model,” Joan said. “That’s how I became a model.”
It was during her time at Gunn Garment that Joan was introduced to the man who was to become her husband, Winnipeg Blue Bomber George Druxman.
“Marilyn Trepel called me up and told me someone had seen me at a wedding. Would I like to meet him? He’s one of the Blue Bombers,” Marilyn said to Joan.
As a Bomber wife, Joan was asked to appear on a local television show along with other Bomber wives where they would each be asked to cook a favourite dish.
“I made blintzes,” Joan noted.
As luck would have it, “two guys from Manitoba Sugar saw me and asked me to do a regular cooking show on TV.”
It was while appearing on her own cooking show that an editor of the Winnipeg Tribune asked Joan whether she would like to become food editor of that paper, and shortly thereafter, the fashion editor as well.
The next step in Joan’s career came when she was asked whether she would like to become the fashion coordinator for the Hudson’s Bay Company in Winnipeg, Saskatoon, and Regina, also the manager of the Fashion Room in the Bay.
But, as Joan recalled, “at the time the Bay fashions were all centrally coordinated. I hated them all. I decided to go out on my own.”
Thus began the longest segment of Joan’s varied career: as owner of Joan’s Boutique.
It was no simple matter, however, for a woman to strike out on her own in a business at that time, which was in 1976
Having been divorced from George Druxman (who died in 1999), Joan was mother of three boys at the time: Trevor, Greg, and Adam. Two of the boys were married by then.)
“I wanted to set up in an old house,” she recalled.
“I went to see a bank manager who said to me: ‘I’ll have you know fashion retailing is the riskiest business there is.”
Not one to be discouraged, however, a former classmate of Joan’s from Kelvin, Brian Aronovitch, told her there was a house at 34 Carlton owned by lawyer Ken Houston – who wanted to rent out part of the house.
At the same time Joan was introduced to another bank manager who was supportive of her dream of opening her own boutique.
“I opened Joan’s in 1977,” she observed. “Business just took off. It was bursting at the seams.”
Ever on the eye for another opportunity, it was while out for a walk in the neighbourhood of the Carlton store that Joan said she saw a rooming house for sale at 22 Edmonton.
“It was a tax sale,” Joan noted. And so, in 1979, Joan Druxman opened Joan’s Boutique at her new location on Edmonton, where she was to remain for the next 13 years.
“I gutted it and had clothing and accessories on the first and second floors,” she said, “with a hairdresser on the third floor.”
Ever restless, however, Joan decided to move to Vancouver in 1990.
“I saw things there that weren’t happening in Winnipeg,” she observed, including a very large Japanese population.
Joan opened her first store in Vancouver at the corner of 12th and Granville, but soon she came across a better opportunity at Berard and Granville. She approached a former friend from Winnipeg, Karen Simkin, who had also moved to Vancouver and who had opened a little gift shop.
“I invited Karen to move to that new location with me,” Joan said.
Karen’s husband, Garry Simkin, was fully supportive, and so the two women opened a store that was a combination clothing and gift ware store.
As mentioned though, Joan had taken note of how many Japanese tourists there were in Vancouver. Accordingly, as she explained, “I went to Simon Fraser University and learned how to read and write Japanese” so that she would better ingratiate herself with Japanese customers.
Things were going along well until their landlord told Joan and Karen that he was going to be raising the rent to $250,000 a year. (And remember, this was the 1990s. One can well imagine how exorbitant that amount would have been back then.)
So – another career switch for Joan was in the offing: “I decided I’d like to be an actress,” she observed. At the same time she started doing stand-up comedy (as noted at the beginning of this article.)
Ever eager for new challenges, however, Joan decided to apply for a green card and move to Los Angeles –where she began studying acting while working for Nordstrom’s.
“I also got my California real estate license,” she added.
But this was all before Obamacare, Joan noted. “Medical insurance was costing me $1500 a month.”
Joan decided to move back to Winnipeg where, once again, she opened “a little store.”
In 2020, however, with the onset of the Covid pandemic, Joan found she “couldn’t get stuff from Europe” and, as a result, she had to close her store.
“So, I walked into the cosmetics department of the Bay (Polo Park store) and said, ‘I want to see the Chanel manager.’ “
As luck would have it, that manager happened to need someone at the Chanel perfume counter and Joan was hired on the spot.
Which brings us full circle to where Joan started when she only 16 – working again at the Bay.
“Here I am at the Bay working five days a week – and loving it,” she said. “Without a bank manager, without a landlord, and without the tax man.”
But, as Joan observed, she still dresses to the nines – even though now she takes the bus to work. (It stops right in front of her apartment and drops her off right at work, so why not?)
As she noted though, you can imagine the looks she gets from other passengers who see an immaculately dressed woman getting on their bus every day.
One time, Joan said, her regular bus driver asked her: “Are you a celebrity?”
Joan told him she wasn’t, but one day that bus driver happened to be shopping at the Bay with his wife when he spotted Joan at the Chanel counter and said to his wife: “I know her. She rides my bus.”
That’s Joan Druxman for you – more twists and turns than a Gerry Posner story. Some day she ought to write a book. Hey, there’s an idea for her next career move!
Post script: We were informed that the day after Joan Druxman spoke at the Gwen Secter Centre she was involved in a terrible accident when she was coming out of work at the Bay.. It seems that Joan was caught in the midst of a situation where some young boys had been fleeing the store after having stolen some jeans. One of them ran into Joan, knocking her to the ground – which broke her hip. At last report she had undergone hip replacement surgery and had been released from the hospital.
