There are no theatre buildings – not even in Warsaw or in other Polish cities – that would be home to the most outstanding companies. An ensemble of actors forms, and soon disappears. Theatre collectives organise and quickly disintegrate without even having time to strengthen. One lives in the Jewish theatre world in Poland not even from one season to the next, but rather from one play to the next, and more often than not – from one day to the next.
(Nachmen Majzel, Dwadzieścia lat teatru jidysz w Polsce [20 Years of Yiddish Theatre in Poland], 1937)
During the interwar period, artists in financial trouble could count on the help of their trade union, but was that support sufficient? How did his father's unemployment affect the life choices of the adolescent Mieczysław Weinberg?