In 1987 the writer Marianne Goldman initiated the creation of the first Swedish play about contemporary Jewish life. Together with the theater producer Yvonne Rock they contacted Claes Karlsson at Kulturhuset who welcomed them to the experimental stage called Kilen. Robert Weil agreed so support the production directed by Judith Hollander with set design by Ulla Cassius. ‘Kaos är granne med Finkelstein’ premiered in spring 1989 and was a huge success. Kulturhuset prolonged the performance period to a kind of humoristic cabaret that gave the audience access to what some journalists described as the Jewish living room.

During the years to follow a loosely formed group of Swedish Jewish theater workers, actors and others met and worked and a cabaret stage at The Studio at St Eriksplan called Judisk Konfetti became the meeting place and space for experiment and investigation. 1991 the foundation Judiska teatern was founded by Marcus Storch and Robert Weil. The board consisted of Swedish Jewish as well as non Jewish cultural activists as Lars Löfgren, Basia Frydman, Pierre Fränkel, Palle Granditsky, Erland Josefsson and Agneta Pleijel. The intention was to formulate, investigate and support what was called ‘a jewish culture’. The Jewish Theatre in Sweden did, at this time not have a fixed home, a stage nor a studio, but collaborated with different institutions as Kulturhuset, The Studio or Dramaten. A more structured theatre was taking shape. In 1994 Yvonne Rock moved to Stockholm from Värmland and Sunne to become the head of the Jewish Theatre. The first production was an exhibition, the Israeli ceramicist Lidia Zavatsky was presented at what was then known as Kägelbanan at Djurgården in Stockholm. 1995 Pia Forsgren and Yvonne Rock started of in Kägelbanan, now home of The Jewish Theatre with the performance ‘Savannah Bay’ by Marguerite Duras. Yvonnne Rock stayed at the theatre until 1998. The Jewish Theater in Stockholm remained at Kägelbanan at Djurgården untill the theatre closed down in 2015.