Is this for a paper? If you consider the more accurate translation to be "distancing effect" then you could argue both "Passing Strange" and "Spring Awakening" utilized that technique, to think of two recent examples.
If by "alienation effect" you mean eradicating the fourth wall and confronting the audience with the fact that they're watching a play - then The Drowsy Chaperone would be a good example.
As Brecht himself pointed out, the audience doesn't WANT to be alienated, so they always adapt to any new techniques that attempt to do so. They want to be sucked in and suspend their disbelief.
The old things like direct audience address, comment songs, highlighting the "unreal" nature of theatre - these are all taken for granted by today's audiences, and no longer even come close to "alienating" anyone.
Through costume and other design choices the Chicago revival distances the audience from the natural setting of the story, a self-referencing to the here and now of the performance which reels the audience in in pure Brechtian terms.
It's hard to find a show now that doesn't use at least some of the techniques Brecht utilized in production. It's not audacious when the audience can see lighting instruments- it's expected. It's not audacious when the presence of only a door represents an entire wall or building. Until the 1930s or so, it was.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I think if Bertolt Brecht were alive today, his answer to the question would be, "Ethel Merman."
Apparently...when Brecht and his wife Helene Weigel were in New York in 1948, they attended several Broadway shows, including the original production of Annie Get Your Gun. Merman had a famous running gag every time she saw Frank Butler: She dropped her jaw and stared, as if she had never seen anything so beautiful.
If legends can be believed...Helene Weigel was so taken by Merman's long, slow, slack-jawed take that it became the basis for Mother Courage's famous "silent scream."
Weigel told producer Cheryl Crawford that Ethel Merman was the only "indestructible woman" she had ever met, and thus, the basis for Weigel's characterization.
By way of confirmation, Glenda Jackson also said that Lotte Lenya once told her that Weigel's nickname for Merman was "Mother Courage." According to Jackson, Weigel saw Mother Courage as having Merman's "big, blousy" quality.
In 1961, Cheryl Crawford and Jerome Robbins were (inexplicably) contemplating a Broadway production of Mother Courage, and they asked Weigel who should play the title role. Weigel's response: Merman.
I read this years ago and can't source it now, but whenever Toscanini was in New York, he loved to be taken out to Merman's latest show, preferably on opening night. He called her "Iron Lung Merman."