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. 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. References to the troupe and its role were also present in Maxy's overview of modernist performances in Romania, published by unu magazine in February 1931. 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." The company disbanded again in 1931. 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." Among the plays performed were Sholem Aleichem's Kapores, Mikhail Artsybashev's one-act Jealousy, Der Tunkeler's Should I Marry, or Shouldn't I?, and Veviorke's A Philosopher—A Drunkard. Several members of the troupe participated in a 1937 New York revival of The Dybbuk, directed again by David Herman. 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 received bad reviews. 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