From autumn 1941 until October 1942, in addition to concerts, evening revues were also organized at the House of Culture [vide House of culture].

Revues had no titles, only sequential numbers: Revue I, Revue II, Revue III. A revue was a kind of cabaret, well-known on prewar Jewish stages in Eastern Europe. The authors had in mind the example of Warsaw’s “Ararat”1 theater. After solos came duets, comic sketches, recitals, and satirical songs about recent events. In general, the authors followed the style of modern Jewish operetta based on American standards: a medley of sentimental numbers, topical persiflages2 and historical reminiscences. The musical part often included folk and newly composed songs. Music and lyrics were created primarily by experienced authors. They followed the example of revues written and staged in Warsaw by M. Broderson. Actors – most of them amateurs – drew inspiration from Warsaw cabaret artists: Dżigan and Szumacher3. Three of the mentioned revues were created by lyricists Janowski and Joachimowicz, director M. Puławer, and stage designer P. Schwarz. Music was mainly composed by D. Beigelmann, who also conducted the orchestra during shows.

Topical revue verses enjoyed popularity as hits sung in the entire ghetto.

The revue-going public was represented mainly by workers who wanted to unwind. 

Oskar Rosenfeld