Speaking Through Shylock's Lips: The Merchant of Venice on The Yiddish Stage

Eve Romm

Eve Romm traces the many approaches to resolving the problem of Shylock on the Yiddish stage, from apologetics to heroism.


Musical Comedy as Compromise Formation: Judío and Judía (1926), by Ivo Pelay

Claire Solomon

Ivo Pelay's 1926 plays Judío and Judía, “Jew” and “Jewess,” thematize anxiety not only about the Argentineity of Jews, but also about the Jewishness of Argentina: the promise of assimilation and the threat of subversion.


Community, Continuity, and Celebration: Kids and Yiddish Then and Now

Avram Mlotek

Avram Mlotek shares the personal, family, and artistic roots of the Folksbiene's online pandemic-era Kids and Yiddish reunion show this spring.


Acting Like a Jewish Witch: An Interview with The Sorceress Star Mikhl Yashinsky

C. Tova Markenson

Mikhl Yashinsky discusses his starring role as Bobe Yakhne in the Folksbiene production of The Sorceress, featuring an In geveb first — a Yiddish drag performance recorded just for our lucky readers!


Shylock’s Jewish Way of Speaking

Nahma Sandrow

What if Shylock spoke Yiddish? One experimental production of Shakespeare's "The Merchant of Venice" did just that.


Call for Papers: Murder, Lust, and Laughter, or, Shund Theatre

The Editors

We are seeking submissions for a special issue on Yiddish popular theater.


Review of The Rise of the Modern Yiddish Stage by Alyssa Quint

Debra Caplan

The Rise of the Modern Yiddish Stage is a monumental work that tells the story of Avrom Goldfaden, Yiddish theater's most central, confounding, and enigmatic figure while also situating it in the context of Yiddish theater’s initial development. 


Jewish Victims, Jewish Virtue, but Not Much Jewish History: A Review of The Argentinian Prostitute Play

Tova Benjamin

Tova Benjamin reviews The Argentinian Prostitute Play, a new play by Reuven Glezer staged as part of the 2019 Broadway Bound Theatre Festival. 


Another 'Tradition Omission': Reconsidering Fiddler on the Roof in Yiddish

Shaina Hammerman

Fiddler’s Yiddish translation merits discussion in The New York Times, not as history or metaphor, but as a window into how Jews tell stories about themselves.