I return to Yiddish theater let me at least not be so ignorant." Much of the theater performed during this period was later referred to as shund, or trash, though critics such as Itsik Manger felt it possessed a naive energy and was unfairly maligned. What seemed, for a time, a boundless future in Russia was cut short by the anti-Jewish reaction following the assassination of Tsar Alexander II; Yiddish theatre was banned, under an order effective September 14, 1883. This ban caused an exodus of Yiddish actors and playwrights to other countries – Poland, in particular – where they had the freedom to perform. The Moscow Yiddish Theater, or Jewish Kamerny Theatre in Moscow, or new Yiddish Chamber Theater, directed by Aleksey Granovsky, and with contributors including Marc Chagall, was founded in Petrograd in June 1919 as an experimental workshop then became the Moscow State Jewish Theatre. Yiddish theatre in London Of the next era of Yiddish theatre, Adler, who arrived in London with his wife Sonya in 1883, wrote, "...if Yiddish theater was destined to go through its infancy in Russia, and in America grew to manhood and success, then London was its school." The arrival of Adler and his troupe beckoned the era of professional Yiddish theatre in London, and as word of the troupe’s arrival started to spread throughout the East End, they began to receive financial assistance from the local community which allowed them to form the Russian Jewish Operatic Company. In London in the 1880s, playing in small theatre clubs "on a stage the size of a cadaver", not daring to play on a Friday night or to light a fire on stage on a Saturday afternoon (both because of the Jewish Sabbath), forced to use a cardboard ram's horn when playing Uriel Acosta so as not to blaspheme, Yiddish theatre nonetheless took on much of what was best in European theatrical tradition. In this period, the plays of Schiller first entered the repertoire of Yiddish theatre, beginning with The Robbers, the start of a vogue that would last a quarter of a century. Adler records that, like Shakespeare, Schiller was "revered" by the broad Jewish public, not just by intellectuals, admired for his "almost socialist view of society", although his plays were often radically adapted for the Yiddish stage, shortening them and dropping Christian, antisemitic, and classical mythological references There were several smaller