and shund alike would find their audience." The Yiddish theatre continued to have its ups and downs. In 1918, Isaac Goldberg could look around himself and reasonably write that, "...the Yiddish stage, despite the fact that it has produced its greatest dramatists only yesterday"... is already, despite its financial successes, next door to extinction." As it happens, it was on the dawn of a second era of greatness: a 1925 New York Times article asserts that "the Yiddish theater has been thoroughly Americanized... it is now a stable American institution and no longer dependent on immigration from Eastern Europe. People who can neither speak nor write Yiddish attend Yiddish stage performances and pay Broadway prices on Second Avenue." This is attributed to the fact that Yiddish theatre is "only one of... [the] expressions" of a New York Jewish cultural life "in full flower". Famous plays of this second golden era were The Dybbuk (1919), by S. Ansky, considered a revolutionary play in both Yiddish and mainstream theatre. It has been translated into many languages and performed thousands of times all over the world, on stage and on television; there have been several movies. It is now regarded as the crown jewel of the Jewish theatre. Operas, ballets, symphonic suites and other musical compositions have been based on The Dybbuk. In earlier years it was considered so significant that parodies about The Dybbuk were written and performed in Europe and the United States. After the rising popularity of Yiddish theatre in the Americas, shows such as Fiddler on the Roof, created by Joseph Stein and Sheldon Harnick, brought the tenets of Yiddish theatre to the Broadway stage. An-sky wrote a number of other plays, four of which are included in his Gezamelte shriften, long out of print. One (“Day and Night”) is, like The Dybbuk, a Hasidic Gothic story. The other three plays have revolutionary themes, and were originally written in Russian: “Father and Son.” “In a Conspiratorial Apartment,” and “The Grandfather.” All four have recently been republished in a bilingual Yiddish-English edition. Also notable are The Golem by H. Leivick (1888–1962), as well as the plays of Sholem Aleichem. Buenos Aires, Argentina figured prominently in Yiddish theatre between the wars. While pre-war Yiddish theatre in Argentina had bordered on burlesque, shortly after World War I Thomashefsky and others brought their companies to Buenos Aires for the off-season when New York