acting school, no teacher, no experienced director or veteran of the stage who would teach the young. [. . .] in other conditions the rookies [38] would not be allowed to appear on the stage at all.
Mr Samberg is the director in Azazel. An excellent actor, he is not the right person to be a director. [. . .] is the manager. He has recently been more interested in business than in theatre, [. . .] Kutner,146 Cymbalist147 [. . .] they will do, but they do not set the Thames on fire. But even these plays could be staged [. . .], more effectively and diligently. But what for? They will satisfy the smugglers. What you see is what you get. Andrzej Marek reigns over the Kameralny theatre. Intelligence, experience, and some kind of creativity [. . .] more intelligent and better educated [. . .] [39] is reflected to some extent in the level of the performances. There is no lack of professionalism or intelligence, but [. . .] director would be of use there. The actors often [. . .]. Besides, Mr Marek [. . .] articulation. He does not feel [. . .]. He cannot differentiate between [. . .] sounds. So how [could he] train [. . .], former extras or [. . .] rookies? He is the only person in charge. He has no other literary or artistic collaborators. The situation in Femina is a bit better. Aside from Jurandot—literary manager, enterprising and ingenious author of adaptations and medleys, and even a producer—the theatre employs the most experienced, diligent, and [. . .] directors: Minowicz and Turkow [. . .] [40] the most properly and diligently in Femina. But articulation is poor here too. The theatre manager Mr Liberman has to [. . .] cheap and substitute [. . .] for untrained adepts can practically practice on stage. Well, they are left unattended. They are often allowed to speak, move, and make themselves up in a simply outrageous way. In truth, in the past such a whelp would have been laughed at any school show if he dared recite a poem with such articulation, accent, emotional drabness, and logical misrepresentation. [. . .]
The most characteristic feature of the “Polish-Jewish” [. . .] is the division of the ghetto actors into “Polish” and “Jewish.” It is [. . .] comprehensive division.
