Jewish theater in Vienna between 1900 and 1938 is inconceivable without women actors. A total of 112 people were active in the Viennese Yiddish theaters, of whom 37 were women. Actors such as Pepi Litmann, Molly Picon, and Mina Deutsch popularized “trouser roles” in which women depicted men as well as playing strongly typified female characters.

Women have always been important as both Yiddish theater audiences and actors. For a decade and more, most American Yiddish actors were immigrants, as were their audiences. Often families played in the same company, such as the famous Adler family. Now, as Yiddish theater has become attenuated, the loyalties and memories of women are important for its survival.

Jewish women on stage in America took on a variety of musical roles and performed all kinds of songs, including religious hymns and liturgical chants. In its heyday, the Yiddish stage mirrored American Jewish life. An amazing range of women’s woes were highlighted, discussed, and often resolved across the footlights, presenting the reality that immigrant women faced to an extent not paralleled in the English-language theatrical world during those years.

Jewish women in vaudeville helped to cultivate a unique American Jewish identity. Headliners Sophie Tucker, Belle Baker, and Fanny Brice were prominent, as were performers such as Nan Halperin and Nora Bayes. Molly Picon was a star of Yiddish theater, and Sarah Bernhardt a star of the stage. The reign of Jewish female vaudevillians ended in the 1930s, but their voices continue to be heard.

Vaudeville legend and Broadway star Sophie Tucker defied convention with her saucy comic banter and music. Tucker became famous internationally for her singing performances and delighted audiences throughout America and Europe with her rendition of “My Yiddishe Momme.” Tucker was proud of her Jewish identity and created the Sophie Tucker Foundation, which supported various actors’ guilds, hospitals, synagogues, and Israeli youth villages.

Sydney Taylor as the author of the beloved All-of-a-Kind Family chapter book series, about five memorable and distinctive sisters growing up in a warm and loving Jewish household in early twentieth-century New York.

For over a hundred years, Jewish women have been involved in the American theater as writers, actors, directors, designers and producers. The vitality of the Yiddish theater, the splendor of Broadway, the rich tapestry of the regional theater, and everything in between, all owe a debt to the Jewish women who have given of their talents, their energy, their drive, and their dreams.

Sylvia Blagman Syms was a gifted jazz singer who earned praise from Billie Holliday, Frank Sinatra, and Duke Ellington. In 1949, she was discovered by Mae West, who became a significant teacher and influence on Syms’s intimate storytelling performing style. Sym’s went on to record fifteen major albums and tour the United States and World before dying of a heart attack. 

Anna Sokolow (1910-2000), an American dancer and choreographer of Russian-Jewish descent, danced with the early Martha Graham Company and created many international dance-theater works of social and political significance.

Award-winning director and screenwriter Joan Micklin Silver, born in 1935 in Omaha, Nebraska, wrote and directed the 1975 barrier-breaking independent film Hester Street, which sparked an interest in the lives of immigrant Jews. She also directed Crossing Delancey (1988), five other feature films, and several films for television.

Feisty and opinionated, Sylvia Sidney was quite the opposite of the waiflike victim of social oppression she played in Hollywood’s Depression Era films. While she disliked playing the victim, her vulnerability and working-class persona resonated with audiences. She earned an Oscar nomination for her performance in Summer Wishes, Winter Dreams, took on a comic role as the caseworker in Beetlejuice, and played a sympathetic grandmother in one of the first TV movies about AIDS, An Early Frost.