and nationalism among Romanian Jews, and thus make "Jewishness" prove itself more worthy than "the braggadocios" of other nationalist discourses. Writing in the Warsaw Yiddish-language during the run of Der zinger fun zayn troyer, Joseph Buloff was amazed at the positive reception that Yiddish theater received among the gentiles of Bucharest. Buloff noted that the Romanian actor Tanţi Cutava was equally comfortable acting in French and Yiddish as in his native Romanian, that he often heard ethnic Romanians singing songs from the Yiddish theater over a glass of wine, and that Romanian writers and artists invited Yiddish actors to their get-togethers, all of which apparently formed a stark contrast to Warsaw at that time. Following the November 1924 establishment of an Amicii teatrului evreiesc (Friends of the Jewish Theatre) association designed to help the troupe recover from its financial slump, several such clubs were set up by Jews and non-Jews in various Romanian localities. The company also registered success when, in late 1925, it decided to reinstate The Deluge as its headliner. Apparently, the production was the work of several directors, and underwent significant changes from one staging to another, in both direction and assignment of roles. It earned further praise from critics, especially after Luba Kadison replaced Orleska in the play's sole female role. (Buloff and Leib Kadison, who had been assigned the title roles in the original variant, had by then withdrawn.) Der zinger fun zayn troyer and The Deluge were followed by successful Bucharest productions of David Pinsky's Melech David un zaine Froien (King David and His Women) and Tolstoy's The Living Corpse. Pressured, in part, by a 32% tax on performances by foreign troupes, by the end of 1925, the troupe had decided to reconstitute themselves as a Bucharest-based troupe, taking the Romanian-language name Dramă şi Comedie. Dramă şi Comedie "The wandering troupe from Vilna will stay put... after an era of prolonged touring", reported Integral. "They will fix on a program, which will no longer oscillate between melodrama and an expressionist mural. Apparently, the prospect launched today is precise: a new group tending to go along the route of modern innovation. 'No compromise with lack of taste—no compromise with bad taste': a shout that justifies an existence and would be worthy of realization." The "no compromise" slogan came from the statement of program, really more of an artistic manifesto, with which the reconstituted group launched