Miriam Zohar is known as one of the leading ladies of Israeli theater, performing as a lead at the Habimah theater from 1951 until 1994. After a tumultuous war-torn childhood and immigration journey from Ukraine to Israel, Zohar rose to fame working under director Hy Kalus and won an Israel Prize for her noteworthy performances.

Ruth Ziv-Ayal, a director and choreographer, is a pioneer in Israeli experimental movement theater. Her early work was characterized by the use of everyday materials such as household tools, newspapers, and balls, while her later work expanded to use materials such as soil, sand, water, bread, and clothing.

Theater director and choreographer Rina Yerushalmi, one of Israel’s leading artists, is the founder and artistic director of the experimental Itim Theater Ensemble. Her unique theatrical language is based on visual images that present the classical texts in a new light, making them acute and relevant. Yerushalmi currently serves as Professor of Theater at Tel Aviv University.

Helene Weigel was an actress and director known for her maternal roles in Bertolt Brecht’s plays and her incredible kindness and generosity. Weigel married Brecht in 1922 and they fled Germany during the war, returning to East Germany after the war. Weigel was known for her strength, energy, diplomacy, and good humor as she managed an acting career and dealt with many challenges in her lifetime. 

Dora Wasserman created a place for Yiddish theater in Canada by founding a theater and adapting great works of Yiddish literature for the stage. After World War Two, Wasserman immigrated from the Soviet Union to Montreal, formed the Yiddish Drama Group, and produced plays and musicals. She was the first to demonstrate that a theater of diversity could survive and flourish in Canada, and she did so with an all-consuming selfless dedication to her art.

In 1989, Wendy Wasserstein won the Pulitzer Prize for The Heidi Chronicles and was the first woman playwright to win a Tony Award. After graduating from the MFA program at the Yale School of Drama, in which she was the only woman, Wasserstein wrote countless dramas, three musicals, various comedy skits for television, and a series of essays published in the New Yorker, Esquire, and Harper’s Bazaar.

Salka Viertel was an influential actress, writer, and organizer of Jewish European immigrants in Hollywood. Viertel co-wrote screenplays for several Greta Garbo films. Her Hollywood salon welcomed émigrés such as Thomas and Heinrich Mann, Bertolt Brecht, Fred Zinnemann, Arnold Schoenberg, and Reinhardt.

Simone Simon was a prolific international film star, known for her iconic appearance and voice. Simon spent her childhood in Marseilles and Madagascar and attended schools in Berlin, Budapest, and Turin before making her film debut in 1931. She became popular in France and Hollywood for her mysterious, vulnerable, and seductive acting style, and made over thirty-eight feature films in her career. 

A talented singer/actor and superb comedian, Vivienne Segal enjoyed a lengthy career. She was best known for her role as Vera Simpson, the older woman in love with the “heel,” Joey (played by Gene Kelly), in the 1940 Rodgers and Hart musical Pal Joey.

Called the "High Priestess of the Hebrew theater," Hanna Rovina was awarded the Israel Prize for Theater Arts for her contributions to the Habimah stage and her commitment to reviving the Hebrew language. Acting with the Habimah theater, she played many different parts over the course of six decades. A year before her death, Habimah named its large auditorium after her.

Lillian Roth, a singer-actor whose career met with early success but was eventually sidetracked by alcoholism and mental illness, wrote an autobiography that became an international bestseller. At fourteen Roth landed a part in the Shubert show Artists and Models; by seventeen, she was in Ziegfield’s Midnight Follies. She moved to Hollywood for a successful film career before her life fell apart due to mental health challenges and alcoholism. 

Jean Rosenthal was a pioneer in theater lighting design, finding new aesthetics for dance performances and theater productions. Rosenthal did the stage lighting for a number of well-known Broadway plays and musicals, such as West Side Story (1957), Becket (1960), Hello, Dolly! (1964), Hamlet (1964), Fiddler on the Roof (1964), The Odd Couple (1965), and Cabaret (1966). She is most famous for her unconventional lighting of dance and opera performances. 

Romania was a wellspring of the Yiddish theater, as there were Jewish theater troupes in the major Romanian cities and acting troupes traveled throughout the country performing dramas, comedies, musicals, and operettas. Women played a significant role in performing and shaping Romanian Yiddish theater and became known internationally for their work on the Yiddish stage.

Sarah Reisen was both a gifted Yiddish writer in her own right and a respected translator of great literature into Yiddish for children and adults. Recognized by contemporaries for her humane literary sensibility, she brought to Yiddish literature not only her own creative works but also her translations, which introduced readers of all ages to world literature.

One of the most famous Jews in nineteenth-century France, the actress Rachel was celebrated for her unparalleled talent and is credited with reviving classical French tragedies in the era of Romanticism. Throughout her life, she remained faithful to her family and Judaism. Rachel was unusually adept at managing her career, and she became an international star on foreign tours. 

Orna Porat was a leading actor at the Cameri Theater who also performed at the Habimah, the Beer-Sheva Municipal Theater, Beit Lessin, and the Yiddish Theater. After immigrating to Israel from Germany, Porat struggled to learn Hebrew and break into the theater world, but ultimately she was successful. She is known for serving on the Cameri’s administrative board and founding the Cameri Children’s Theater.

As a female playwright, Martha Morton faced adversity within the male-dominated New York theater world. Despite repeated rejection, she achieved fame and prosperity. Resisting expectations of women writers, Morton took a firm hand in production, often casting and directing her own work.