ɪn ðɪs pˈiəɹɪəd, ɚɹˈaʊnd nˈaɪntiːnhˈʌndɹɪd ˈeɪt, hiː wʌz ˈæktɪv ɪn ɐ lˈɪɾɚɹˌɛɹi dɹəmˈæɾɪk sˈɜːkəl ðæt hæd fˈɔːɹmd ɪn vˈɪlnə, ɪŋklˈuːdɪŋ nˈoʊʌ nˈætʃbʊʃ, tʃˈeɪm ˌɛsˈeɪtʃnˈʊɹ, sˈɑːnjə ɐlˈɑːmɪs, ɹˈeɪtʃəldˈoːɹɚ ɹɪvkˈiːnə, ænd fɹiˈɛdə bljuːmˈɛntəl; ðə ɡɹˈuːp wˈɜːkt wɪð pˈɛɹɛts hˈɜːʃbiːn, hˌuːz plˈeɪz ðeɪ pɚfˈɔːɹmd ænd hˌuː wʌz ɪn vˈɪlnə æt ðə tˈaɪm, ænd ðeɪ tɹˈævəld ˌɪntʊ ðə lˌɪθjuːˈeɪniən pɹˈɑːvɪnsᵻz ɡˈɪvɪŋ pɚfˈoːɹmənsᵻz.
In this period, around 1908, he was active in a literary dramatic circle that had formed in Vilna, including Noah Nachbush, Chaim Shneur, Sonia Alomis, Rachel-Dora Rivkina, and Frieda Blumental; the group worked with  Peretz Hirschbein, whose plays they performed and who was in Vilna at the time, and they traveled into the Lithuanian provinces giving performances.