As for her husband, Dr.
Morris Reinhart, according to her biography, soon
thereafter she traveled around with Jacob P. and
Sarah Adler across the province under the name of
Fannie Brown and played the "mother" in "Uriel
Acosta" and "Zulaikha" in "Joseph and his Brothers."
Then she went over to Nathan Frank in Boston, where
she played with Louis Mitnick, Mr. and Mrs. Simon
and Ike Zilberman. Later she became the first
actress with Moshe Zilberman, where she played the
main roles in "Chana and her Seven Sons," "Dovid Ben
Yishai," "Spanish Inquisition," "Giber hakhayel,"
and other operettas. Here she became engaged to
Feinman to play in 1896 in the Liberty Theatre under
the direction of Shomer in his play, "Shoshana, the
Flower of Jericho," for which the author wrote a
role for her of "a slave" on the stage. But as she
tells it: "We (me) were not allowed to sleep, and I
had to be awake and sing the song at least six or
seven times."
From here she went over
to Jacob P. Adler in the Windsor Theatre, where she
played major roles. Later she acted in the Thalia
Theatre with Mr. and Mrs. Karp, Finkel, Prager and
Shramek, a few seasons with Finkel's troupes in
Philadelphia, and from there she went to Chicago to
Ellis Glickman, where she played singing men's roles
(among them "Avigdor" and "Yeshiva bokher," and in
dramatic women's roles. Later, by herself, she was
the manager and regisseur of a troupe, and together
with Edwin Relkin as her organizer, she opened new
territories across the American and Canadian
provinces for Yiddish theatre.
In her repertoire one
often finds Gordin's, "Mirele efros," and about her
acting in this role in Denver, Dr. Chaim Spivak
wrote in a letter about her:
"I have many memories of
the last time, since Jacob Gordin's death. You know
that I had seen "Mirele efros" for the first time it
was staged in Denver, and when I thought of Gordin,
it entered into my thoughts the "Mirele efros" that
Reinhart had embodied."
In Chicago in 1889 R.
married Dr. Morris Reinhart, the editor then of the
"Jewish Courier," who later threw away his
journalistic career and practiced as a medical man.
About her success during
that time, Leiser Meltzer writes:
"Madame Reinhart was then one of the popular
actresses and singers, and when one is more
successful, no jealousy or intrigues from colleagues
are needed. A series of intrigues had begun, which
made Fannie ill. She decided to leave the regal
stage and became a variety actress. She was the
popular star in the very widespread music halls. Her
talent had not only been renowned in New York. She
had with all her might tried to raise the music hall
to a high standard. In the Forward [newspaper], Ab.
Cahan wrote about her in her time: "Fannie Reinhart
sings in music halls cantorials with such ability
and refinement that many people may have studied
her. She receives such heart-filled applause, and it
showed that it wasn't truth that people claim that
the audience had loved filthy songs and couplets.
When you provide the audience with good, fine songs,
fine cantorial singing, fine workers and folksongs,
shatst er dos op. There came to Fannie
Reinhart an idea to make her entrance." In that
time, thanks to the new singing that Fannie Reinhart
had brought into the music halls under the
leadership of Dr. Sh. Peskin, there began a struggle
to purify the music halls of gibul-ph, of
dirty words, filthy jokes and songs. With each
opportunity, Fannie had supported the struggle, and
as the "Forward" of that time writes, Fannie had
with a banquet of actors from music halls taken an
oath with all the actors, that they will sing only
pure, beautiful things."
The actor Mendel
Teplitsky, who had often acted with her, writes:
"When I think about
Fannie, I see her through my eyes as an artist in
women's roles, as well as in men's roles. I see her
as the proud Mirele Efros, and also as Vigder
[Avigdor] of "Yeshiva bokher." I hear her sweet
voice singing the Kaddish, and also Eli Eli lmh
ezvsni in the play "Gavriel," and if someone at
times heard the Reinhart sing Gm chi alkh bgia
tslmus la aira re, shvmkh umshenskh hmh
inkhmni, one was not able to say that Jacob
Gordin's masterwork "God, Man and Devil" was staged
by David Kessler or by Fannie Reinhart."
R. returned to
legitimate theatre and demonstrated at the same time
issued a special gefil-oyftsutretn and called
for charitable institutions for the helpless and the
sick and was conducted for a Denver sanitarium. In
1912 R. settled in Los Angeles with her husband,
where she led a Yiddish radio program in which she
continued to seek assistance, especially for the
local charitable institutions.
On 18 May 1941 in Los
Angeles there was celebrated the ten-year
anniversary of her Yiddish radio programs, and with
the opportunity provided by a committee, there was
issued a book in Yiddish and English: "Madame Fannie
Reinhart as an artist--as a human being" {forty-five
pages in Yiddish, and thirty-one in English] with
greetings and articles from the jubilee committee
(Louis Silverberg, Julius Levitt, Julius Nathanson,
and Max Lichter), Leiser Meltzer, Shlomo Shmuelewitz,
I.Sh. Naaumov, L. Blank, Kh. Goldovsky, Sh. Zamd,
Rose Gevadovska, Mendel Teplitsky, Julius Nathanson,
Rabbi Benjamin Marcus, Rabbi I.T. Loeb, Rabbi
Neches, Jack Greenberg et al, as well as a scene
from R. with her husband, and R. in the role of
"Yeshiva bokher," "Moshele soldat" and "Mirele efros."
The folks-poet Shlomo
Shmuelewitz had in the jubilee book, dedicated a
song to her, which begins with a Rashi tbus
in her name:
Feige singer, sing for
us, sing,
May your voice long ring;
Take away the suffering easily,
Every pain true to your singing.
Rich is your talent and
great--
Yiddish zingstu, one must cry,
Yiddish zingstu, geyt men oys,
Only then did it a thousand khnen,
Feelings have been born,
In your heart a divine fire.
Reinhart, sing for us, sing and act--
Precious it is, very precious.
R. also recorded several
of her songs, and in our collection one fins the
record with "Likht bentshen" and "Mkhusnste."
R.'s brothers were
rabbis: Rabbi Yekhiel Mikhl Tikochinsky in
Jerusalem, and Rabbi I./Y.T. Loeb in America.
For the last years of
her life, R. was very sick and tsugeshmidt to
her bed. Her humor had not left her until the last
minute. She passed away on 22 January 1952 in Los
Angeles and was brought to her eternal rest in
Hollywood Cemetery. Rabbi Rakovsky had given the
eulogy for her, spoke about her societal and
philanthropic activities, but no words were
mentioned about her many years of farbreycher
stage activity.
Sh. E. from
her husband Dr. Morris Reinhart.
-
Fannie Reinhart--
Lozt men tsu naye aktoren?, "Forverts," N. Y.,
22 May 1905.
-
Lead Pencil-- Zi
iz areyngekumen koyfn a glaz sode-vaser bay a
shvester, vemen hot git gezen 45 yor, dort, 10
July 1931.
-
"Madame Fannie
Reinhart als kinstlerin-- als mensh," Los
Angeles, 1941.
-
[--]-- Iber finf
hundert gest nemen anteyl in feni reinhart's
yubilee, "Forverts," Los Angeles, 28 May 1941.
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