job to travel with Rosenberg's troupe to Kherson, where he made a successful acting debut as the lover Marcus in The Witch of Botoşani. He overstayed his leave, lost his government post, and the decision to become a full-time actor was effectively made for him. Adler was unhappy that under Tulya Goldfaden there were "No more communistic shares, no more idealistic comradeship". Still, under this same Goldfaden regime he had his first taste of real stardom when people in Chişinău camped in the courtyards awaiting performances. Even the police seemed to have "fallen in love" with the troupe, dressing up the actors in their uniforms at riotous parties after shows, while trying on the troupe's costumes themselves. Unsatisfied with the low pay, in Kremenchuk Adler led an unsuccessful actors' strike. A series of intrigues almost led to a breakup with Sonya, but ultimately led both back into Rosenberg's troupe and led to their marriage in Poltava. When this particular troupe broke up, the Adlers were among the few players to remain with Rosenberg to form a new one that included the actress who later became famous under the name of Keni Liptzin. In Chernigov, Adler turned down the opportunity to act in a Russian-language production of Boris Gudonov. Around this time Goldfaden appeared again and, after using an elaborate intrigue to demonstrate to the Adlers that Rosenberg had no loyalty to them, recruited them to his own troupe, which at the time appeared to be headed for a triumphant entry into Saint Petersburg. All that changed with the assassination of Tsar Alexander II. The mourning for the tsar meant there would be no performances in the capital; in addition the political climate of Russia turned sharply against the Jews. Goldfaden's troupe soldiered on for a time—to Minsk, to Bobruisk where they played mainly to Russian soldiers, and to Vitebsk, where he and Sonya ended up having to sue Goldfaden for their pay, and left to rejoin Rosenberg, who was playing in a tent theater in Nezhin. However, matters there proved even worse: Nezhin soon fell prey to a pogrom. The troupe managed to avoid bodily harm, partly by convincing the rioters that they were a French theater troupe and partly by making judicious use of the money the Adlers had won in court from Goldfaden. In Łódź, Adler triumphantly played the title role in Karl Gutzkow's Uriel Acosta, the first