Jewish theatre groups in Manchester and Glasgow. The opening of a Yiddish theatre at the Pavilion Theatre in 1906 marked a new era for the Yiddish theatre in London, providing a permanent home for the theatre for almost three decades. The theatre was home to a number of actor-managers throughout its history, the first being Sigmund Feinman, a Yiddish actor and playwright who grew to prominence on the American Yiddish stage. Feinman staged plays such as Gordin's The Jewish King Lear, for which Adler returned for a guest appearance in the lead role. The Pavilion Theatre closed as a Yiddish theatre in 1935. It was succeeded by the Grand Palais Theatre and the New Yiddish Theatre Company at the Adler Hall, Whitechapel. Yiddish theatre in Poland Poland was an important center of Yiddish theatrical activity, with more than 400 Yiddish theatrical companies performing in the country during the interwar period. One of the most important companies, the avant-garde Vilna Troupe (Vilner trupe), formed in Vilna, as its name suggests, but moved to Warsaw in 1917. The Vilna Troupe employed some of the most accomplished actors on the Yiddish stage, including Avrom Morevski, who played the Miropolyer tsaddik in the first performance of The Dybbuk, and Joseph Buloff, who was the lead actor of the Vilna Troupe and went on to further accomplishments with Maurice Schwartz’s Yiddish Art Theater in New York. It was in Warsaw that the Vilna Troupe staged the first performance of The Dybbuk in 1920, a play that made a profound and lasting impression on Yiddish theater and world culture. The Vilna Troupe inspired the creation of more avant-garde and ambitious Yiddish theatrical companies, including the Warsaw Yiddish Art Theater, founded by Zygmunt Turkow and Ida Kaminska in 1924, the Warsaw New Yiddish Theater, founded by Jonas Turkow in 1929, and the Young Theater, founded by Michal Weichert in 1932. In addition to the serious artistic efforts of the art theaters, cabaret flourished in Poland during the interwar period, combining musical performances with standup comedy. The most celebrated practitioners of this kind of performance were Shimen Dzigan and Yisroel Shumacher, who began their lifelong Yiddish comedy career at the theater Ararat in Łódź in 1927. Puppet and marionette theater also attained great artistic significance, often staging satirical shows on contemporary social issues. Yiddish theater in Poland reflected the political preoccupations of its time. They struggled financially, like