@inbook{10.2307/j.ctt14btdgq.9,
 ISBN = {9781592138722},
 URL = {http://www.jstor.org/stable/j.ctt14btdgq.9},
 abstract = {Popular Yiddish entertainment known asshund, or literary trash, thrived during the thirties. Leftist criticism of the genre hardly deterred audiences from enjoying the musical comedies featuring Menasha Skulnik, Molly Picon, Aaron Lebedev, and Leo Fuchs. Opposition to such entertainment placed a leftist in the curious position of renouncing theatre events attractive to the masses. In “On Shund-Theatre,” written in 1943, Nathaniel Buchwald objected toshund’sbanal plays with formulaic situations and characters, to the genre’s acceptance of the status quo, and to the happy endings and stage fools offered by these plays at a time when Buchwald felt the},
 bookauthor = {Joel Schechter},
 booktitle = {Messiahs of 1933: How American Yiddish Theatre Survived Adversity through Satire},
 pages = {141--156},
 publisher = {Temple University Press},
 title = {Menasha Skulnik Becomes a Bridegroom: Popular Yiddish Theatre Reconsidered},
 year = {2008}
}