{"id":1676,"date":"2019-09-04T11:52:00","date_gmt":"2019-09-04T16:52:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1676"},"modified":"2023-05-22T12:21:52","modified_gmt":"2023-05-22T17:21:52","slug":"the-yiddish-theatre-time-machine","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/the-yiddish-theatre-time-machine\/","title":{"rendered":"The Yiddish Theatre Time Machine"},"content":{"rendered":"\n

Earlier this year,\u00a0the DYTP had its biennial workshop at the University of Wisconsin-Milwaukee. To start, as an ice breaker, we went around the table sharing what Yiddish theatrical performance we wished we could have attended. Here is some of what we came up with. Where would you want to go?<\/em><\/p>\n\n\n\n

The Creepy and the Spooky: Svengali on the Yiddish Stage<\/strong><\/h2>\n\n\n\n

Zachary Baker<\/p>\n\n\n

\n
\"\"
Samuel Goldenberg, as depicted by M. Kantor, Di idishe tsaytung (Buenos Aires), June 29, 1930.<\/figcaption><\/figure>\n<\/div>\n\n\n

It would\u00a0have<\/em>\u00a0to be a play with\u00a0Samuel Goldenberg<\/a>\u00a0in it, given my current research project. Theatre critics admired Goldenberg\u2019s talents but frequently derided his heavy reliance on the so-called\u00a0shund\u00a0<\/em>repertory. The \u201cserious\u201d dramas that Goldenberg put on were generally translations of works by European literary authors such as Strindberg, Tolstoy, and Artsybashev. However, he also had a soft spot for less conventional plays. Among his signature roles were the androgynous Morris Green in\u00a0Yo a man, nit a man<\/a>\u00a0<\/em>[Man, Not Man<\/em>], and\u00a0Doctor Jekyll and Mister Hyde<\/em>.<\/p>\n\n\n

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Stella Adler, \u201cwho is performing with great success at the Teatro Excelsior.\u201d Artist: L. B. Glantzer. Source:\u00a0Penem\u2019er un penem\u2019lakh\u00a0<\/em>(Buenos Aires), July 1930.<\/figcaption><\/figure>\n<\/div>\n\n
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The cast of the Buenos Aires production of\u00a0Trilby<\/em>. Source,\u00a0Di idishe tsaytung\u00a0<\/em>(Buenos Aires), August 3, 1930. Reproduced from The New York Public Library\u2019s microfilm.<\/figcaption><\/figure>\n<\/div>\n\n\n

We sometimes overlook the international repertory, in assessing the legacy of the Yiddish theatre. The performance that\u00a0I\u00a0<\/em>would like most to have seen is the Buenos Aires production of the play\u00a0Trilby\u00a0<\/em>(adapted by Mark Schweid from the novel by George DuMaurier), with Samuel Goldenberg in the role of the sinister Svengali, opposite Stella Adler as Svengali\u2019s victim, Trilby. (Musical accompaniment was provided by the Argentine composer Jacobo Ficher.) The local critics considered it to be one of Goldenberg\u2019s most effective productions during his 1930 tour. Like An-sky\u2019s\u00a0Dybbuk<\/a><\/em>,\u00a0Trilby\u00a0<\/em>was a spooky play that offered Yiddish actors an opportunity to deliver a dramatic punch.<\/p>\n\n\n\n

\n\n\n\n

Laying the Foundation for Modern Yiddish Comedy<\/strong><\/h2>\n\n\n\n

Joel\u00a0Berkowitz<\/p>\n\n\n\n

Sometimes I get a little greedy, so it\u2019s asking a lot to offer me a time machine and then limit me to visiting just one production from the storied past of the Yiddish stage. What I would really like is a global, multi-century tour, stopping at such times and places as a Purim play in medieval Frankfurt, Avrom Goldfaden\u2019s legendary 1876 appearance on the stage of a Romanian beer garden, the premier of The Dybbuk <\/em>in Warsaw in 1920, a Soviet Yiddish confection like GOSET\u2019s Constructivist reworking of Goldfaden\u2019s The Sorceress <\/em>in 1922 \u2026 I could go on.<\/p>\n\n\n\n

But I\u2019ll venture slightly off the beaten path, to what was likely a reading rather than a full production. The time: the mid-1790s. The place: a well-appointed drawing room (or so I imagine) in Berlin. The occasion: a reading of arguably the first modern Yiddish play\u2014Aaron Halle Wolfssohn\u2019s\u00a0Laykhtzin un fremelay\u00a0<\/em>(Silliness and Sanctimony).1<\/sup><\/a>\u00a0What draws me to this time and place is the fact that the Wolfssohn and a handful of other\u00a0maskilim,\u00a0<\/em>or proponents of the Jewish Enlightenment (haskalah<\/em>), laid the foundation of modern Yiddish drama decades before any sustained professional Yiddish theatrical activity existed. So who took part in such a reading? What were their performances like? How did they deal with\u2014and react to\u2014the complex mixture of languages (German\/Yiddish\/Hebrew-Aramaic) and registers the playwright so carefully wove through the play? Was there an audience beyond the readers? If so, who were they, and what did they think of the play? And did Wolfssohn hand out an early draft that changed considerably in response to audience feedback, or did he wait for his work to be published in 1796 before putting it on its feet\u2014or at least on its seat?<\/p>\n\n\n\n

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A Jewish Refugee on Broadway<\/strong><\/h2>\n\n\n\n

Sonia Gollance<\/p>\n\n\n\n

The production I\u2019d like to see was from the 1950s, but first I have a prologue from the 1940s. In May 1941, World War II raged, the Nazi leadership had decided to annihilate European Jewry, and the United States was months away from joining the war. In New York, Yiddish writer\u00a0Kadia Molodowsky<\/a>\u00a0published her first installment of a novel in the\u00a0Morgn-zhurnal<\/a>\u00a0<\/em>(Morning Journal). This novel,\u00a0Fun Lublin biz Nyu-york: togbukh fun Rivke Zilberg<\/a>\u00a0<\/em>(From Lublin to New York: Diary of Rivke Zilberg) was published in book form in 1942. Just a few weeks ago, I was delighted to receive my copy of Anita Norich\u2019s new translation of Molodowsky\u2019s novel,\u00a0A Jewish Refugee in New York: Rivke Zilberg\u2019s Journal<\/a><\/em>, a title which reflects the original title of the serialized version. Written in the form of a journal, the novel engagingly recounts the experience of Rivke Zilberg, a twenty-one-year-old Jewish woman who has fled Nazi-ravaged Lublin to live in New York with her aunt. It covers a ten-month period between 1939 and 1940, during which Rivke anguishes over the fate of her surviving family, tries to make a new life for herself in America, and expresses her dismay over her peers\u2019 blithe disregard for the catastrophic news from Europe. I first read the original several years ago, and it is one of the texts I analyze at length in my book manuscript. I also highly recommend Norich\u2019s translation, which I am assigning to students in one of my classes.<\/p>\n\n\n

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Anita Norich\u2019s new translation,\u00a0A Jewish Refugee in New York: Rivke Zilberg\u2019s Journal.\\<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

Over a decade after she wrote her novel, Molodowsky returned to Rivke Zilberg\u2019s story with a dramatic adaptation called\u00a0A hoyz af Grend Strit\u00a0<\/em>(A House on Grand Street). Produced by\u00a0Benjamin Rothman<\/a>\u00a0and directed by\u00a0Yonas Turkow<\/a>, the three-act play premiered on October 9, 1953\u2013and on Broadway, no less, at the President Theatre on West Forty-Ninth Street. The production was part of an effort to establish a permanent Yiddish acting company on Broadway. The\u00a0New York Times<\/em>\u00a0acknowledged that Molodowsky \u201chas been a leading Yiddish poet for more than thirty years\u201d and added that she \u201cshould be encouraged to write more [plays] and with more humorous spots [\u2026] She has a natural flair for comedy.\u201d2<\/sup><\/a>\u00a0Although\u00a0Variety\u00a0<\/em>complimented the acting and cast, it complained that the play was \u201cstatic and talky\u201d and unlikely to reverse the decline in the popularity of Yiddish theatre productions.3<\/sup><\/a>\u00a0In stark contrast to contemporary Second Ave. plays, the review continued, Molodowsky used \u201creal, deep Yiddish Yiddish as compared to the popular move toward English Yiddish.\u201d This style \u201cmay attract some of the oldsters\u201d but second generation Americans \u201cwill find it tough to take.\u201d What was it like to attend a play in Yiddish in the early 1950s that discussed the Holocaust? Who attended it and why? I\u2019d like to imagine that Molodowsky had hordes of giddy fans lining up and clutching well-worn copies of her poetry and prose works, but how much did the audience pay attention to the author and her literary reputation? To her social criticism? I\u2019m confident Norich\u2019s translation will help raise awareness of this fascinating work, even though you need to visit the archives to check out the dramatic version. I, on the other hand, will just set the Time Machine to 1953.<\/p>\n\n\n\n

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A Forgotten Flop<\/strong><\/h2>\n\n\n\n

Barbara Henry<\/p>\n\n\n\n

We know so much more about the\u00a0good\u00a0<\/em>Yiddish dramas than we do about the\u00a0bad\u00a0<\/em>ones. Flops disappeared from marquees and memory, leaving behind only savage reviews, if that. Some of that mystery attends the very reduced run of Jacob Gordin\u2019s portentous symbolist drama\u00a0Oyf di berg\u00a0<\/em>(In the Mountains), which opened (and closed) in the spring of 1907. No one remembers exactly when.\u00a0Oyf di berg\u00a0<\/em>is set in the Catskills, where vacationing city Jews are behaving badly and provoking the ire of the \u201cSpirit of the Mountains.\u201d The Catskill Mountains, that is. It is an actual speaking part. As is that of a character named \u201cFeedbag\u201d (Torbe<\/em>). That\u2019s\u00a0Meylekh\u00a0<\/em>(King) Feedbag to you. What was the audience\u2019s reaction to this leadenly tendentious play? Did the crowd behave like unruly Yiddish theatre audiences of old, hurling rotting produce and insults? Or were they cowed into polite, embarrassed silence, slipping out of the theatre as discretely as possible? We will never know. The play was never performed again, and even though the text has survived, no one has seen fit to stage it since. I would like to have seen Yiddish theatre when a playwright could experiment with difficult new styles; when the fate of the art did not hang on a play\u2019s being a landmark production, a runaway hit, an international phenomenon. When Yiddish plays could just fail, and rise again.<\/p>\n\n\n\n

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A Real-Life Exorcism<\/strong><\/h2>\n\n\n\n

Faith Jones<\/p>\n\n\n

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The Dybbuk<\/em>\u00a0in 1922.<\/figcaption><\/figure>\n<\/div>\n\n\n

My great-aunt in New York was once exorcised, probably under the influence of The Dybbuk<\/em>\u2019s first American run in 1921. She was a young teen and began saying the things you most certainly are not supposed to say: that the family was abusive, that she was in danger. These speech acts led her mother, a Westernized Jew with no prior expression of superstitious beliefs to decide my great-aunt was possessed. They sought out an old rabbi, a recent immigrant who would be willing to perform the unbearably old-fashioned ritual, and she was rid of her demon. This event left her terrified and ashamed, and it performed the desired effect of silencing her. She only told my mother about her exorcism late in life, when everyone else involved was dead. In the intervening years, I do not believe she had been happy even once. She was generally unpleasant, not surprisingly, and I never liked her much, but I have sympathy. I would love to see that first New York Dybbuk<\/em>. It is all about the deadliness of silencing women: in my great-aunt\u2019s sad case, the play predicts the very thing it gave rise to. And if the message my great-aunt\u2019s mother took from it was all wrong\u2014that it was acceptable to use ritual to deflect women\u2019s legitimate anger\u2014it is still extraordinary that she was willing to take advice from a play in the Yiddish theatre.<\/p>\n\n\n\n

So, I would like to see this production, the 1921 American\u00a0Dybbuk<\/em>, which had such a profound and tragic effect on my poor, unlikeable great-aunt.<\/p>\n\n\n\n

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Brothel Drama in Buenos Aires<\/strong><\/h2>\n\n\n\n

C. Tova Markenson<\/p>\n\n\n\n

I would time travel to an early twentieth-century production of Peretz Hirschbein\u2019s\u00a0Miriam\u00a0<\/em>in Buenos Aires (1908\/1909). This production fascinates Yiddish theatre historians for surprising reasons; rather than focusing on the performance\u2019s star actress, stage legend Fanny Wadia-Epstein, historians fixate on the audience\u2019s response. Allegedly, act four (which takes place in a brothel) inspired spectators to cry out in protest against the Argentine Jewish community\u2019s notorious involvement in sex trafficking. According to theatre chroniclers from the era, these words of protest escalated into physical altercations between audience members over the Yiddish theatre\u2019s relationship to the commercial sex trade. I would be eager to gather additional perspectives on this history through schmoozing with fellow theatregoers, comparing my own observations about the audience\u2019s response against the historical record, and interviewing Fanny Wadia-Epstein.<\/p>\n\n\n\n

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Meine Damen und Herren – Sholem Asch!<\/strong><\/h2>\n\n\n\n

David Mazower<\/p>\n\n\n\n

I would set my time machine to Tuesday, March 19, 1907. Finland has just become the first country to elect women to parliament, the electric washing machine is about to be unveiled, and Florenz Ziegfeld is assembling his first Broadway Follies show. Meanwhile, in a sensational breakthrough for Yiddish drama, it\u2019s showtime at the \u00fcber-prestigious Deutsches Theater in Berlin. The house lights are about to dim\u2014it\u2019s the opening night of Der Gott der Rache<\/em>, the world premiere (in German translation) of Der got fun nekome<\/a><\/em> (The God of Vengeance) by my great-grandfather, Sholem Asch<\/a>. (If you don\u2019t know the play, here are some keywords: brothel, prostitutes, pimp, Poland, Jews, virgin daughter, lesbian kiss, God, Torah, scribe).<\/p>\n\n\n\n

Asch had suffered two crushing setbacks in his efforts to get the play staged: his mentor Peretz had advised him to destroy it, and the star actor-manager Jacob Adler had rejected it to his face (\u201cYou want me to perform this play in front of Jewish women? Never!\u201d)<\/p>\n\n\n

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Scene from the third act of the premiere production of\u00a0God of Vengeance\u00a0<\/em>at the Deutsches Theater, Berlin, 1907. (Courtesy of the Leo Baeck Institute, New York.)<\/figcaption><\/figure>\n<\/div>\n\n\n

Undaunted, the twenty-six year old Asch had found an introduction to director Max Reinhardt, travelled to Berlin, and read his play in Yiddish to Reinhardt and some close associates. The renowned German director championed the play at once, as did his dramaturg, Efraim Frisch, a former rabbinical student.<\/p>\n\n\n\n

The buzz on opening night must have been incredible. I imagine Asch pacing nervously on the biggest night of his career. I\u2019d love to ask Reinhardt what convinced him to take a punt on a little-known Polish-Yiddish dramatist. And more than anything, I\u2019d love to eavesdrop on the audience as they see Rudolf Schildkraut (famous for his Shylock, King Lear, etc.) create the role of the Jewish brothel-owner whose dream of a fresh start for his daughter comes crashing down around him.<\/p>\n\n\n\n

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Mississippi\u00a0<\/strong><\/em>in Warsaw<\/strong><\/h2>\n\n\n\n

Alyssa Quint<\/p>\n\n\n\n

I would want to go back and see the 1935 production of Leyb Malakh\u2019s Mississippi<\/em>, which was commissioned and staged by Micha\u0142 Weichert in Warsaw. It went on to play different venues throughout Poland and was staged over 100 times.<\/p>\n\n\n\n

Mississippi<\/em> was a play based on the Scottsboro Boys. The Scottsboro Boys were nine African American teenagers, ages thirteen to twenty, falsely accused of raping two white women on a train in Scottsboro, Alabama in 1931. Mississippi <\/em>was written in 1933.<\/p>\n\n\n\n

The play begins, for instance, in a moving freight car where the seven African American young men and boys (Malakh reduced the number of boys from nine to seven) get to know each other as they traveled between Chatanooga and Memphis, revealing their backstories to the audience: it is 1931, and they jump on and off the train looking for work. Tensions rise as two white women are snuck into the same boxcar by the train\u2019s conductor, and, a few stops later, two white men enter who get into a fist fight with one of the African American boys who throws them off the slow-moving train. When the train reaches its final stop, an angry lynch-mob is surrounding the box-car and the sheriff reveals that the white men had called the station accusing the boys inside of raping the women. The sheriff can only barely restrain the mob as it cries: \u201cPull them out! Lynch the devils!\u201d<\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

The play features brief vignettes that were performed almost simultaneously on multiple stages among audience members. In one scene, for instance, members of the racist Lily White Movement lavish gifts and sympathy on the female accusers; one of the boys in prison recalls the ugly racist chant of the Klu-Klux Klan as he was forced to watch as they set a man on fire; a priest visiting the boys in prison presides over mass, all in Yiddish. Malakh\u2019s script is also embedded with original songs by the composer Henekh Kon, perhaps the most important and prolific musical talent of the interwar Yiddish stage. Kon composed songs in the style of the African American musical tradition including a gospel song and African American spirituals that reference the enslavement of African people. A cabaret singer in a Harlem night club sings a Yiddish-language jazz song.<\/p>\n\n\n\n

Malakh did not turn the Scottsboro trials into a courtroom drama; in bits of dialogue, the play clarifies the irreversible nature of the boys\u2019 tragic situation. If we are free, one of them says to the others, for instance, we will be lynched or we will always fear being lynched. Now that they have been accused, they (alongside the audience) come to the realization that they are safer in jail. Another scene sheds light on the social reverberations of this tragedy: a woman calls over an African American boy to shine her shoes on the streets of New York. He can\u2019t, he replies, as he doesn\u2019t want to be accused of rape. Yet another illuminates the cruelty of the accusers.\u00a0Mississippi\u00a0<\/em>is an unflinching look at racism of the Jim Crow Era.<\/p>\n\n\n\n

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Broder Singers Live!<\/strong><\/h2>\n\n\n\n

Amanda (Miriam-Khaye) Seigel<\/p>\n\n\n

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Fayvl and Saltshe Vayzenfraynd: Isaac declares his love for Taybele.<\/figcaption><\/figure>\n<\/div>\n\n\n

I would love to see a performance of the\u00a0Broder Singers<\/a>, the first secular Yiddish performers.\u00a0Jacob Mestel<\/a>\u00a0(1884-1958) recalled seeing them in Zloczew as a child, around 1893. Two women and three clean-shaven men (\u201clike priests\u201d) opened with an a capella song. Khone Shtrudler sang a humorous piece\u2014perhaps with some of his famously improvised, sometimes risqu\u00e9 rhymes. Fayvl and Saltshe Vayzenfraynd (parents of\u00a0Paul Muni<\/a>), sang\u00a0Berl Broder<\/a>\u2019s comic duet,\u00a0Der shuster mitn shnayder<\/a>\u00a0<\/em>with Saltshe in male drag as the tailor. Then, two \u201cHasidim,\u201d \u201cShmerke un Berke,\u201d emerged: \u201cone sat on the other\u2019s lap and while the one in front was telling of miracles performed by his rebbe, the one behind was gesticulating (blowing the nose of the one in front, caressing his beard, and scratching his throat)\u2026 so that it seemed like they were one person.\u201d A few years later, as recalled by M. Myodavnik, a different Broder Singers performance of\u00a0King Ahasuerus<\/em>\u00a0in Bendin was marred by unintentional slapstick: the horse carrying Mordecai repeatedly threw him off, and thrifty theater-goers who were watching the play through a hole in the roof (to avoid buying tickets) fell down onto the stage during the performance.<\/p>\n\n\n\n

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Paris, 1945<\/strong><\/h2>\n\n\n\n

Nick Underwood<\/p>\n\n\n\n

If I could hop into the phone booth, I would set the date and time for 8pm on July 11, 1945 so that I could try to get a seat at Salle Pleyel to see the\u00a0Parizer yidisher avangard teater<\/em>\u00a0(PYAT) make their postwar comeback appearance in Paris. PYAT, as they were known, was 1930s Paris\u2019s primary contribution to Yiddish theatre, and, as soon as they could amass a troupe, they staged their triumphant and defiant return to the Parisian stage to celebrate their tenth anniversary.<\/p>\n\n\n

\n
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Poster for the premiere of PYAT\u2019s\u00a0Keytn\u00a0<\/em>(Chains) at Th\u00e9\u00e2tre Lancry, July 26, 1937.<\/figcaption><\/figure>\n<\/div>\n\n\n

That evening, the PYAT members who were in Paris staged three short pieces: a \u201cmontage\u201d of H. Leivick\u2019s Di oreme melukhe<\/em> (The Impoverished State), which Jacob Rotboym of Vilna Troupe<\/a> fame directed and which PYAT premiered before the war in January 1939; Der sod<\/em> (The Orchard) by R. Sander, which is described as \u201ca one act drama from the time of the occupation adapted for the stage by A. Fesler [most likely Oscar Fessler]\u201d; and Mazel Tov<\/a><\/em>, described as \u201ca people\u2019s play [folks-shpil] by Sholem Aleichem, adapted for the stage by M[oishe] Kinsman,\u201d who was an actor director with the troupe in the 1930s and survived the war in hiding in France.4<\/sup><\/a><\/p>\n\n\n\n

According to the playbill:<\/p>\n\n\n\n

\n

PYAT\u2019s ten-year anniversary is a holy day for Yiddish art theatre. For ten consecutive years there was a group of Jewish workers and intellectuals in France that, through strong and talented actors, transmitted important stories; without money, without funding, they produced lovely plays and created a good Jewish theatregoing public.<\/em><\/p>\n\n\n\n

With this ten-year anniversary program, PYAT has produced an impressive program. They will spiritually encourage and lift our brothers and sisters and glorify the bright memory of our murdered and fallen fighters.<\/em><\/p>\n\n\n\n

Ten years of PYAT – Today a modest amount of extremely great works of wonderful material, inspired by the noble ideals of a great revolutionary movement.<\/em><\/p>\n<\/blockquote>\n\n\n\n

I would have loved to have been there.<\/p>\n","protected":false},"excerpt":{"rendered":"

The DYTP team on the performances they would have liked to witness.<\/p>\n","protected":false},"author":32,"featured_media":1681,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[45,47,48,49,10,46,43,32,44],"tags":[],"class_list":["post-1676","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1876-1899","category-1918-1945","category-1945-1999","category-21st-century","category-audiences","category-early-20th-century","category-early-yiddish-theatre","category-literature","category-the-jewish-enlightenment"],"yoast_head":"\nThe Yiddish Theatre Time Machine - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/the-yiddish-theatre-time-machine\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Yiddish Theatre Time Machine\" \/>\n<meta property=\"og:description\" content=\"The DYTP team on the performances they would have liked to witness.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/the-yiddish-theatre-time-machine\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2019-09-04T16:52:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-22T17:21:52+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/PYAT10year.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"247\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Jeremy A Streich\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jeremy A Streich\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/the-yiddish-theatre-time-machine\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/the-yiddish-theatre-time-machine\\\/\"},\"author\":{\"name\":\"Jeremy A Streich\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/#\\\/schema\\\/person\\\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"The Yiddish Theatre Time Machine\",\"datePublished\":\"2019-09-04T16:52:00+00:00\",\"dateModified\":\"2023-05-22T17:21:52+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/the-yiddish-theatre-time-machine\\\/\"},\"wordCount\":3282,\"image\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/the-yiddish-theatre-time-machine\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/wp-content\\\/uploads\\\/sites\\\/562\\\/2023\\\/05\\\/PYAT10year.webp\",\"articleSection\":[\"1876-1899\",\"1918-1945\",\"1945-1999\",\"21st Century\",\"Audiences\",\"Early 20th Century\",\"Early Yiddish Theatre\",\"Literature\",\"The Jewish Enlightenment\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/the-yiddish-theatre-time-machine\\\/\",\"url\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/the-yiddish-theatre-time-machine\\\/\",\"name\":\"The Yiddish Theatre Time Machine - 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