Editing Vilna Troupe (section)

==Later years==
There were several later revivals of the Vilna Troupe in [[New York City]]. The first of these was a revival of ''The Dybbuk'' at the Grand Theater in April 1926.<ref>Untitled item, ''The New York Times'', April 7, 1926. p. 26.</ref> In late summer 1926 they were at the Liptzin Theater performing ''Rasputin and the Czarina''.<ref>"75 years ago", ''The Forward'', August 31, 2001; {{cite web |url=http://www.forward.com/issues/2001/01.08.31/lookingback.html |title=FORWARD : Looking Back |access-date=2005-01-23 |url-status=bot: unknown |archive-url=https://web.archive.org/web/20011107230731/http://www.forward.com/issues/2001/01.08.31/lookingback.html |archive-date=November 7, 2001 }}</ref> 

In March 1929, they were playing [[Chone Gottesfeld]]'s ''Parnose'' ("Business") in The Bronx, New York. The production moved in May to the [[Village East by Angelika|Yiddish Folks Theater]] at [[Second Avenue (Manhattan)|Second Avenue]] and East 12th Street, near the center of New York's main [[Yiddish Theater District]] of the time.<ref> Advertisement, ''The New York Times'', March 2, 1929, p. 21 says they are performing at the Intimate Playhouse, 180th St. & Boston Road in the Bronx. A further ad March 16, 1929, p. 24, quotes a testimonial from [[Eddie Cantor]]. "Theatrical Notes", May 16, 1929, p. 39, states that the production is moving to the "Yiddish Folks Theater".</ref> Director [[Jakob Rotbaum]] began his professional career staging [[Eugene O'Neill]]'s works with the troupe in 1930.<ref>{{Harvnb|Steinlauf|1993}}</ref>

Shows continued to be produced in Bucharest under the Vilna Troupe name even after 1927. Following the breakup of Dramă şi Comedie, a play ''The Flood'' was put on at the [[Baraşeum]] theater, which was loosely the story of the Vilna troupe.<ref name=Bercovici /> In a March 1929 article for ''[[Cuvântul]]'' newspaper, [[Mihail Sebastian]] announced that the company was returning to Bucharest.<ref name="msvilna"/> In early 1930, company actors also staged Peretz's ''A Night in the Old Marketplace'', later described by Crohmălniceanu as one of the "memorable dates in the history of European Yiddish theater", alongside 1925's ''Der zinger fun zayn troyer''.<ref name=pc276/> The production, directed by Sternberg, was the subject of a "literary trial" in the intellectual community: Sternberg's radical modernist approach was scrutinized by the more reserved authors [[Camil Petrescu]] and [[Barbu Lăzăreanu]], but their accusations were denied merit by a pro-avant-garde group comprising Maxy, [[Sandu Tudor]] and [[Ilarie Voronca]].<ref name=pc277/> References to the troupe and its role were also present in Maxy's overview of modernist performances in Romania, published by ''[[unu]]''<!-- sic (no upper case initial) --> magazine in February 1931.<ref>{{Harvnb|Cernat|2007|p=273}}</ref> 

In January of the following year, the fate of the company was also discussed by Sebastian, in his column for ''Cuvântul''. The writer, who had followed the Vilna Troupe's activities over the previous decade, was reviewing [[Joseph Kamen]]'s return to the Romanian stage with another group of actors. Remembering his impression of the original troupe's shows, Sebastian spoke of its "melancholic destiny": "ever since then, death, dissipation and perhaps fatigue have passed through all these things. [J]udith Lares, who sleeps her eternal sleep in some town in [[Transylvania]]. [Buloff], who confronts an infamous public in America. Stein, lost in some place I don't recall."<ref name="potop"/> 

The company disbanded again in 1931.<ref name=Downes/> Still, several members of the troupe continued on occasion to perform together in the United States. In September 1936, [[Sonia Alomis]], [[Alexander Asro]] and [[Noah Nachbush]] performed a program of short pieces at the [[New School for Social Research]], which ''[[The New York Times]]'' said "remind[ed] us that they are still an active force in [Jewish] theater."<ref name="nytprog">W.S., "A Yiddish Program", ''The New York Times'', September 28, 1936, p. 14</ref> Among the plays performed were Sholem Aleichem's ''Kapores'', [[Mikhail Artsybashev]]'s one-act ''Jealousy'', [[Yosef Tunkel|Der Tunkeler]]'s ''Should I Marry, or Shouldn't I?'', and Veviorke's ''A Philosopher—A Drunkard''.<ref name="nytprog"/> Several members of the troupe participated in a 1937 New York revival of ''The Dybbuk'', directed again by David Herman.<ref name=Downes />

The Vilna Troupe's success with ''The Deluge'' had made various Romanian intellectuals seek to preserve the text in a Romanian-language translation. This was first attempted in 1928 by an author named Iosif Vanciu, but its staging by the [[National Theatre Cluj-Napoca|National Theatre Cluj]] received bad reviews. <ref name="potop"/> During the final stages of [[World War II]], following the [[1944 Romanian coup d'état]], the project was resumed by Baraşeum and Sebastian, resulting in a loose adaptation based not on Berger's original, but on the text as performed by the Vilna Troupe. In his stage program for the play, Sebastian offered additional praise to his predecessors, but noted that, although "excellent", the Vilna Troupe's text had to be adapted for being too "sketchy".<ref>{{in lang|ro}} Mihail Sebastian, {{usurped|1=[https://web.archive.org/web/20081012003317/http://www.romanianjewish.org/db/pdf/nr280_281/speciala4-5.pdf "''Potopul''. Programul de sală" ("''The Deluge''. Stage program")]}}, ''Realitatea Evreiască'' nr. 280-81 (1080-81)</ref>