L'Chaim, Sharon!

That is a really fascinating story, thanks for sharing it!

You have greatly added to my knowledge. Blessings to you.

@@rwffolkes3039 There's much more to tell about the three plays I mentioned. Just one example: Fiddler's "If I Were a Rich Man" is a direct betrayal of a Sholem Aleichem monologue (NOT by Tevye), turning an argument against war into the selfish stupidity in "Fiddler."

It's called THE WORLD OF Sholem Aleichem, and Karnofsky notes that these are "some of the people he loved best," so there's that.

Sholem Aleichem took his tales from many places. He adapted Chelm stories in a book, and the first story is one he adapted from the folk tales. This is a Sholem Aleichem story.

Poor Philip! Artists are sensitive souls. How could McCarthy do this to them, that evil man. This film is a gem.

@@lass-inangeles7564 McCarthy was correct, as we can see today.

@@Fardawg congratulations on having the single most idiotic comment ever on KZfaq. Now go crawl back under the rock from whence you came. Lowlife.

Sam Levene was never blacklisted. Extremely proud of his Jewish heritage, Sam Levene was one of the few Jewish actors who played characters who also had a Jewish name in numerous 1930's and 1940's films, including the 1944 film, The Purple Heart and the 1947 film Crossfire, a powerful denunciation of anti-Semitism. Sam Levene insisted producer David Susskind hire his good friend Zero Mostel before accepting a role in The World of Sholem Aleichem. Zero Mostel's acceptance was contingent upon Susskind's agreement on casting Jack Gilford. David Susskind announced Sam Levene and Gertrude Berg had signed for starring roles in The World of Sholem Aleichem in The New York Times, November 14, 1959. www.nytimes.com/1959/11/14/archives/miss-berg-levene-in-play-of-week-signed-to-star-in-world-of-sholom.html Actually only four cast members of The World of Sholem Aleichem were blacklisted, Zero Mostel, Jack Gilford, Morris Carnovsky and Lee Grant. In casting The World of Sholom Aleichem, David Susskind openly challenged the blacklist and provided these four actors with high visibility parts. filmthreat.com/uncategorized/the-bootleg-files-the-world-of-sholom-aleichem/ Besides an astonishing starry 54 presence on Broadway from 1927 until 1980, the majority as a Broadway star, Levene's consistent film, Broadway and TV presence, especially during the 1950's demonstrates he was NOT blacklisted. For over 3 years, Sam Levene performed the legendary role of Nathan Detroit over 1,600 times in the original 1950 Broadway production of Guys and Dolls, a role he subsequently performed in the first UK production in 1953 and in 1955 in the first Las Vegas production. Sam Levene recognized the baggage of many of his controversial films and public appearances exacerbated by his repeated refusal to change his name. As a result Levene deliberately selected network radio and TV projects sponsored by well-known big name corporations. In the 30's Levene starred in two radio productions for Orson Welles' The Campbell Playhouse; the first was the role of Lefty in Burlesque followed five weeks later as Owen O'Malley in Twentieth Century. During the 40's, Levene starred in nine Theatre Guild on the Air productions for ABC radio. For CBS Radio, Levene appeared on Fred Allen's Texaco Star Theatre as well as several projects for The Screen Guild Theatre; for NBC Radio, Levene guest starred on Tallulah Bankhead's The Big Show to name a few. Levene had a long association with CBS TV, the earliest his 1949 performance as Sidney Black in Moss Hart's Light Up The Sky sponsored by the Ford Theatre Hour, a role he originated in the 1948 Broadway production. In 1954 Sam Levene and Ben Gazzara co-starred in The Alibi Kid for Chrysler Medallion Theater; in 1957 Levene starred in two Studio One productions, The Mother Bit co-starring Peter Falk and The Playwright and The Stars. In 1958 Levene starred in the role of Eddie opposite Helen Hayes in Mrs McThing for Omnibus Theatre. Other CBS credits include performances on The Ed Sullivan Show and an unsold pilot, The Wonderful World of Little Julius. For NBC TV, Levene starred in the 1957 production of The Old Ticket for Kraft Theatre and as Noel Grab opposite Simone Signoret in A Small Rebellon for Bob Hope's Chrysler Theatre. For The United States Steel Hour, Levene was Reporter McArdle in the 1954 TV production for ABC's Fearful Decision. Learn more here: hollywoodblacklistmyth.blogspot.com/2019/04/doubtfully-blacklisted-sam-levene.html Learn more about Sam Levene here: https:samlevene.com

@@josephk.levene6745 I stand corrected. And thanks for the compendious entry on your father's life and career. He graced every production I've seen him in with fire and wit.

1959, I think

Lee Grant is the goat seller.

@@johndalton3180 the angel is Charlotte Rae

That's the talent of Lee Grant. From goat seller to defending angel. Wonderful actress. From my youth noticing her at 16 to now 42 of age, her work has always stayed with me. Her speech, looks, mannerisms, masterclass in acting....just brilliant.

@@damienwoods7071 Yes, Damien. I agree. From this to Shampoo, to Plaza Suite- she is absolutely my all time favorite actress. And we're lucky to still have her alive at this writing.

Why were they blacklisted?

@@CaptainHarlock-kv4zt Most of them were listed in Red Channels. Gertrude Berg's male lead for her TV show -- Philip Loeb -- was fired in 1950 and committed suicide in 1955 after five years of unemployment. Very few of the actor and actresses who were blacklisted were actually members of the Communist Party. Most of them were members of anti Fascist organizations before the 2nd World War and their names ended up on lists of lefties.

They couldn't get work so they created their own work -- The World of Shalom Aleichem ran at the Barbizon Plaza theater from May 1953 to May 1954. Going to a play featuring black listed actors was a very daring thing to do in the early 1950's. People were fired from their jobs for doing that sometimes.

@@CaptainHarlock-kv4zt because they were jews

So sad the black listing

I can do nothing but agree with you. But I still enjoyed this play