Max Frisch
Frisch's dramas up until the early 1960s are divided by the literary commentator into three groups: (1) the early wartime pieces, (2) the poetic plays such as "" ("Don Juan oder Die Liebe zur Geometrie") and (3) the dialectical pieces. It is above all with this third group, notably the parable "The Fire Raisers" (1953), identified by Frisch as a "lesson without teaching", and with "Andorra" (1961) that Frisch enjoyed the most success. Indeed, these two are among the most successful German language plays. The writer nevertheless remained dissatisfied because he believed they had been widely misunderstood. In an interview with Heinz Ludwig Arnold Frisch vigorously rejected their allegorical approach: "I have established only that when I apply the parable format, I am obliged to deliver a message that I actually do not have". After the 1960s Frisch moved away from the theatre. His late biographical plays "" ("Biografie: Ein Spiel") and "" were apolitical but they failed to match the public success of his earlier dramas. It was only shortly before his death that Frisch returned to the stage with a more political message, with "Jonas and his Veteran", a stage version of his arresting dialogue "Switzerland without an army? A Palaver".
Louis Reingold
According to Rejzen, Reingold joined a Yiddish dramatic club in 1895 and wrote two one-act plays for them. On December 5, 1902, his play Hirsh Lekert was performed by a dramatic theater club for a benefit of the Bund in Brownsville, Brooklyn, where he was an executive member. He also wrote for the Yiddish Theatre Company. He read a play called "The Freedom Fighter" for Yiddish actress Bertha Kalich and her husband, theater manager Leopold Spachner, and they asked him to write another play. This work, titled "Zindike neshomes", was apparently lost by Kalich and Spachner, but later performed by Kalich with Morris Moshkovitsh on March 5, 1917 at Gertner's Pavilion Theatre in Chicago. In 1925, Reingold sent a similar play, "Neshome", to the Library of Congress for copyright registration. Reingold also gave his play "Di naye velt" (also known as "Di farkerte velt") to Jacob P. Adler, who took it without paying Reingold and produced it at the Grand Theatre in 1919 - according to Reingold, Adler did this under the name "Two generations" and credited another playwright, Z. Libin. Reingold's play, "Dos milkhome kind", was produced at the Empire Theatre in Chicago in 1918 by Misha and Lucy German, and also performed by [Leon?] Blank in Cleveland and by Jacob Kalich and Dina Feinman in Boston. According to Kalmen Marmor, Reingold's plays "Idisher velt khurbn" (Jewish world destruction) and "Tekhter fun Ukraine" (daughters of Ukraine) were produced in 1919. Reingold's play "Sha, sha, der rebe geyt" was produced at Elving's Metropolitan Theatre in Newark, NJ in 1924; and also in New York City, Chicago and Detroit. "Tsurisene hertser" (also known as "Forgotten children") was produced at the Lyric Theatre in Brooklyn, NY in 1924, and as a benefit at the Littman's People's Theatre in Detroit in the 1924-25 season. At least three other plays by Reingold were performed at Littman's: "The Only Sister/Ir eyntsike shvester" ( four-performances in the 1926-27 season); "Libes flamen" (three performances in the 1931-32 season), and "The Rabbi's Daughter", which lists Samuel H. Cohen as a co-author (two performances in the 1935-36 season).