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Indecent
“Revelatory…As intimate and immediate as a whispered secret. Vogel’s play thrums with music, desire, and fear, and it’s shrewd about the ways in which America isn’t free, and about how art does and doesn’t transcend the perilous winds of history.” — New Yorker “Superbly realized… Indecent , the powerful play by Paula Vogel, sheds an eye-opening light on a little-known time when theatrical history, Jewish culture, and the frank depiction of homosexuality intersected, with explosive results.” — New York Times “Gorgeous. Illuminating and heartbreaking. Rich in sympathy and humor, Indecent has the scope of an epic but the intimacy of a chamber piece…It celebrates and illustrates the power of theater.” — Time Out New York “A moving and fascinating play…A singular achievement… The historical perspective is vast and knowing…Has there ever been anything quite like Indecent , a play that touches—I mean deeply touches—so much rich emotion about history and the theater, anti-Semitism, homophobia, censorship, world wars, red-baiting, and oh, yes, joyful human passion?...An extraordinary play.” — Newsday “ Indecent is more than a play about forbidden It’s about theater as a life force.” — New York Post When Sholem Asch wrote God of Vengeance in 1907, he didn’t imagine the height of controversy the play would eventually reach. Performing at first in Yiddish and German, the play’s subject matter wasn’t deemed contentious until it was produced in English, when the American audiences were scandalized by the onstage depiction of an amorous affair between two women. Paula Vogel’s newest work traces the trajectory of the show’s success through its tour in Europe to its abrupt and explosive demise on Broadway in 1923—including the arrest of the entire production’s cast and crew. Paula Vogel is the Pulitzer Prize–winning author of How I Learned to Drive . Her other plays include Don Juan Comes Home from Iraq, A Civil War Christmas, The Long Christmas Ride Home , and The Baltimore Waltz , among others. She has also had a distinguished career as a teacher and mentor to younger playwrights, first at Brown University and then at the Yale School of Drama.
112 pages, Paperback
First published September 12, 2017
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About the author
Paula Vogel
40 books121 followersPaula Vogel is an American playwright and university professor. She received the 1998 Pulitzer Prize for Drama for her play, How I Learned to Drive.
Vogel was born in Washington, D.C. to Donald Stephen Vogel, an advertising executive, and Phyllis Rita Bremerman, a secretary for United States Postal Service Training and Development Center. She is a graduate of The Catholic University of America (1974, B.A.) and Cornell University (1976, M.A.). Vogel also attended Bryn Mawr College from 1969 to 1970 and 1971 to 1972.
A productive playwright since the late 1970s, Vogel first came to national prominence with her AIDS-related seriocomedy The Baltimore Waltz, which won the Obie award for Best Play in 1992. She is best known for her Pulitzer Prize-winning play How I Learned To Drive (1997), which examines the impact and echoes of child sexual abuse and incest. Other notable plays include Desdemona, A Play About A Handkerchief (1979); The Oldest Profession (1981); And Baby Makes Seven (1984); Hot 'N Throbbing (1994); and The Mineola Twins (1996).
Although no particular theme or topic dominates her work, she often examines traditionally controversial issues such as sexual abuse and prostitution. Asserting that she "writes the play backwards," moving from emotional circumstances and character to craft narrative structure, Vogel says, "My writing isn't actually guided by issues.... I only write about things that directly impact my life." Vogel adds, "If people get upset, it's because the play is working." Vogel's family, especially her late brother Carl Vogel, influences her writings. Vogel says, "In every play, there are a couple of places where I send a message to my late brother Carl. Just a little something in the atmosphere of every play to try and change the homophobia in our world." Carl's likeness appears in such plays as The Long Christmas Ride Home (2003), The Baltimore Waltz, and And Baby Makes Seven.
"Vogel tends to select sensitive, difficult, fraught issues to theatricalize," theatre theorist Jill Dolan comments, "and to spin them with a dramaturgy that’s at once creative, highly imaginative, and brutally honest."[3] Her work embraces theatrical devices from across several traditions, incorporating, in various works, direct address, bunraku puppetry, omniscient narration, and fantasy sequences. Critic David Finkel finds this breadth in Vogel's career to be reflective of a general tendency toward stylistic reinvention from work to work. "This playwright recoils at the notion of writing plays that are alike in their composition," Finkel writes. "She wants each play to be different in texture from those that have preceded it."
Vogel, a renowned teacher of playwriting, counts among her former students Susan Smith Blackburn Prize-winner Bridget Carpenter, Obie Award-winner Adam Bock, MacArthur Fellow Sarah Ruhl, and Pulitzer Prize-winners Nilo Cruz and Lynn Nottage.
During her two decades leading the graduate playwriting program and new play festival at Brown University, Vogel helped developed a nationally-recognized center for educational theatre, culminating in the creation of the Brown/Trinity Repertory Company Consortium with Oskar Eustis, then Trinity's artistic director, in 2002. She left Brown in 2008 to assume her current posts as adjunct professor and the Chair of the playwriting department at Yale School of Drama, and the Playwright-in-Residence at Yale Repertory Theatre. Vogel previously served as an instructor at Cornell University during her graduate work in the mid-1970s.
Recently Second Stage Theatre announced that they would be producing How I Learned To Drive as a part of their 2011-2012 season. It will be the first New York City production of this show in 15 years.
Subsequent to her Obie Award for Best Play (1992) and Pulitzer Prize in Drama (1998), Vogel received the Award for Literature from The American Academy of Arts and Letters in 2004.
She won the 1998 Susan Smith Blackburn P
Vogel was born in Washington, D.C. to Donald Stephen Vogel, an advertising executive, and Phyllis Rita Bremerman, a secretary for United States Postal Service Training and Development Center. She is a graduate of The Catholic University of America (1974, B.A.) and Cornell University (1976, M.A.). Vogel also attended Bryn Mawr College from 1969 to 1970 and 1971 to 1972.
A productive playwright since the late 1970s, Vogel first came to national prominence with her AIDS-related seriocomedy The Baltimore Waltz, which won the Obie award for Best Play in 1992. She is best known for her Pulitzer Prize-winning play How I Learned To Drive (1997), which examines the impact and echoes of child sexual abuse and incest. Other notable plays include Desdemona, A Play About A Handkerchief (1979); The Oldest Profession (1981); And Baby Makes Seven (1984); Hot 'N Throbbing (1994); and The Mineola Twins (1996).
Although no particular theme or topic dominates her work, she often examines traditionally controversial issues such as sexual abuse and prostitution. Asserting that she "writes the play backwards," moving from emotional circumstances and character to craft narrative structure, Vogel says, "My writing isn't actually guided by issues.... I only write about things that directly impact my life." Vogel adds, "If people get upset, it's because the play is working." Vogel's family, especially her late brother Carl Vogel, influences her writings. Vogel says, "In every play, there are a couple of places where I send a message to my late brother Carl. Just a little something in the atmosphere of every play to try and change the homophobia in our world." Carl's likeness appears in such plays as The Long Christmas Ride Home (2003), The Baltimore Waltz, and And Baby Makes Seven.
"Vogel tends to select sensitive, difficult, fraught issues to theatricalize," theatre theorist Jill Dolan comments, "and to spin them with a dramaturgy that’s at once creative, highly imaginative, and brutally honest."[3] Her work embraces theatrical devices from across several traditions, incorporating, in various works, direct address, bunraku puppetry, omniscient narration, and fantasy sequences. Critic David Finkel finds this breadth in Vogel's career to be reflective of a general tendency toward stylistic reinvention from work to work. "This playwright recoils at the notion of writing plays that are alike in their composition," Finkel writes. "She wants each play to be different in texture from those that have preceded it."
Vogel, a renowned teacher of playwriting, counts among her former students Susan Smith Blackburn Prize-winner Bridget Carpenter, Obie Award-winner Adam Bock, MacArthur Fellow Sarah Ruhl, and Pulitzer Prize-winners Nilo Cruz and Lynn Nottage.
During her two decades leading the graduate playwriting program and new play festival at Brown University, Vogel helped developed a nationally-recognized center for educational theatre, culminating in the creation of the Brown/Trinity Repertory Company Consortium with Oskar Eustis, then Trinity's artistic director, in 2002. She left Brown in 2008 to assume her current posts as adjunct professor and the Chair of the playwriting department at Yale School of Drama, and the Playwright-in-Residence at Yale Repertory Theatre. Vogel previously served as an instructor at Cornell University during her graduate work in the mid-1970s.
Recently Second Stage Theatre announced that they would be producing How I Learned To Drive as a part of their 2011-2012 season. It will be the first New York City production of this show in 15 years.
Subsequent to her Obie Award for Best Play (1992) and Pulitzer Prize in Drama (1998), Vogel received the Award for Literature from The American Academy of Arts and Letters in 2004.
She won the 1998 Susan Smith Blackburn P
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Displaying 1 - 30 of 210 reviews
July 14, 2018
I remember being overjoyed when this was nominated for Best Play at the Tonys last year -- alongside Lynn Nottage's SWEAT, Lucas Hnath's A DOLL'S HOUSE PART 2, and JT Rogers' OSLO, which wound up winning the category. But this play fascinated me as soon as I heard about it; you see shows within shows and books within books quite a lot (maybe it's just the things I watch, idk) but this play was dealing with an actual play from the turn of the century. Usually the plays-within-plays or books-within-books are entirely fictional and used as a plot device of some kind. But this was an actual retelling of actual events. Hooked, instantly.
So first I read the play in question, Sholem Asch's GOD OF VENGEANCE. A hugely controversial piece for its day, and likely still for today; it certainly continues to resonate. And then I read INDECENT. And it's incredible. You see the production process, starting with a reading at a friend's house, and everyone is visibly uncomfortable with the material. But they do finally get it on its feet and basically tour Europe, and it is adored. And then it comes to America, where it's shut down on opening night.
What I loved most about this was how much of it is spoken in Yiddish. Paula's text is in English but it will often include a stage direction like "IN YIDDISH:" at the top of the scene. It crossed my mind as I was reading that, if I were to see this on a stage, I wouldn't understand the majority of it. They do speak English in certain parts, but it's mainly Yiddish and German. And I'm totally okay with that. I'm so glad to see Broadway is open to that. (Rather disappointed I missed the PBS Great Performances airing, but such is life.)
I want to think that nothing about this play is "made up", necessarily, that none of the big moments are fictional, because I know Paula researched so much as she wrote this. Toward the end, a scene of continuing to perform theatre in the Lodz ghetto in 1943, was incredibly moving. To follow that with another, back in America with Asch in 1952 as a new production was preparing to be mounted, ensures that anyone who sees or reads this will walk away with a feeling of renewed hope and optimism about the way things change as the world moves forward.
So first I read the play in question, Sholem Asch's GOD OF VENGEANCE. A hugely controversial piece for its day, and likely still for today; it certainly continues to resonate. And then I read INDECENT. And it's incredible. You see the production process, starting with a reading at a friend's house, and everyone is visibly uncomfortable with the material. But they do finally get it on its feet and basically tour Europe, and it is adored. And then it comes to America, where it's shut down on opening night.
What I loved most about this was how much of it is spoken in Yiddish. Paula's text is in English but it will often include a stage direction like "IN YIDDISH:" at the top of the scene. It crossed my mind as I was reading that, if I were to see this on a stage, I wouldn't understand the majority of it. They do speak English in certain parts, but it's mainly Yiddish and German. And I'm totally okay with that. I'm so glad to see Broadway is open to that. (Rather disappointed I missed the PBS Great Performances airing, but such is life.)
I want to think that nothing about this play is "made up", necessarily, that none of the big moments are fictional, because I know Paula researched so much as she wrote this. Toward the end, a scene of continuing to perform theatre in the Lodz ghetto in 1943, was incredibly moving. To follow that with another, back in America with Asch in 1952 as a new production was preparing to be mounted, ensures that anyone who sees or reads this will walk away with a feeling of renewed hope and optimism about the way things change as the world moves forward.
November 24, 2018
One of the most beautiful, hurtful, awakening plays I've ever seen. A treasure to read
August 5, 2025
Hmm…
A homage to a play written in 1906 by Sholem Asch, by creating another play by Paula Vogel.
Asch titled his play "The God of Vengeance."
Her play, Vogel’s, takes it into this century and keeps the theme’s relevance, incorporating the components of events that occurred throughout the next one hundred years.
This convergence accretes into a minor masterpiece.
Not an easy aspiration.
It incorporates the notions of once forbidden sexuality between two women, religion and how it has contorted through the decades, and the dissimulations that make us who we all are.
If this review inspires you, I cannot discern what I wrote, then pick up this slim piece of art.
It has played worldwide, and its message remains valid despite the moral proctors of the day and the places.
(I am not a fan, admittedly, of converting the cover into a full-blown selfie of the author, sans title, but it doesn't matter, right?)
A homage to a play written in 1906 by Sholem Asch, by creating another play by Paula Vogel.
Asch titled his play "The God of Vengeance."
Her play, Vogel’s, takes it into this century and keeps the theme’s relevance, incorporating the components of events that occurred throughout the next one hundred years.
This convergence accretes into a minor masterpiece.
Not an easy aspiration.
It incorporates the notions of once forbidden sexuality between two women, religion and how it has contorted through the decades, and the dissimulations that make us who we all are.
If this review inspires you, I cannot discern what I wrote, then pick up this slim piece of art.
It has played worldwide, and its message remains valid despite the moral proctors of the day and the places.
(I am not a fan, admittedly, of converting the cover into a full-blown selfie of the author, sans title, but it doesn't matter, right?)
December 12, 2023
A transcendental beautiful play-within-a-play. A Yiddish theater troupe trying to make it on Broadway finds themselves arrested for "obscenity" and returns home to Europe, hoping for greater understanding and acceptance. Not even the Holocaust can put an end to their dreams of portraying true love onstage.
I want to say something about the enduring power of art in the face of persecution and hatred; but anything I could say would pale in comparison to what this little book manages to say in just eighty-seven pages. I read it in a single sitting, and I already know it will stay with me forever.
Now I need to read "God of Vengeance," the 1906 play this story is based on (which really was censored for homosexual content).
I want to say something about the enduring power of art in the face of persecution and hatred; but anything I could say would pale in comparison to what this little book manages to say in just eighty-seven pages. I read it in a single sitting, and I already know it will stay with me forever.
Now I need to read "God of Vengeance," the 1906 play this story is based on (which really was censored for homosexual content).
February 4, 2018
It’s hard to evaluate the script or source material of a play (or musical, for that matter) having read it after watching a performance. I feel like I always end up conflating my reaction to the acting with my opinions on the script. In this case, though, it doesn’t really make much difference, as the script alone is still strong enough to make me ugly-cry, which is a feat in and of itself.
I enjoyed reading the script partly because it made the plot easier to follow. In the production, each actor save one plays multiple roles in quick succession, and there were some changes that I didn’t initially pick up on that became clear while reading and enhanced my understanding and appreciation of the story. At some points, it felt like something was missing, since the accompanying music contributes to the tone in various scenes, but this is a small complaint and didn’t affect my enjoyment of the play. Reading the script also strengthened my appreciation for Rebecca Taichman’s directing and for the various actors; the play packs an emotional punch on its own, but they made the story come to life.
Technicalities aside, this story is equal parts painful and beautiful and is definitely worth reading. (This is the part where my review begins to falter because I’m not good at expressing how I feel about this play). In short, I love it. It’s a brilliant, multifaceted depiction of both the Jewish experience and the lesbian experience in the early 1900s, and it’s great. Like, I can’t say this enough. It’s really good and I would read (or watch) it daily if I could.
I went through it again to pick out a few choice quotes to utilize in my review, but I ended up bookmarking too many to use, so I’ll just dump a couple of my favorite non-spoilers at the end of this rambling review.
“This will be the only role in my lifetime where I could tell someone I love that I love her onstage.”
“We are potchkying wid’ a masterpiece. God forbid the goyim think ladies who work the street are human beings! God forbid the goyim think that Jewish ladies love each other as human beings!”
“Tonight we are going to perform Act Two of the greatest play ever written... Last week we presented Act One, and God willing, next week we will still be here to perform Act Three.”
“Then the wind shifts direction... The troupe can smell the grass in the meadow. Lemml closes his eyes. He makes a wish.”
I enjoyed reading the script partly because it made the plot easier to follow. In the production, each actor save one plays multiple roles in quick succession, and there were some changes that I didn’t initially pick up on that became clear while reading and enhanced my understanding and appreciation of the story. At some points, it felt like something was missing, since the accompanying music contributes to the tone in various scenes, but this is a small complaint and didn’t affect my enjoyment of the play. Reading the script also strengthened my appreciation for Rebecca Taichman’s directing and for the various actors; the play packs an emotional punch on its own, but they made the story come to life.
Technicalities aside, this story is equal parts painful and beautiful and is definitely worth reading. (This is the part where my review begins to falter because I’m not good at expressing how I feel about this play). In short, I love it. It’s a brilliant, multifaceted depiction of both the Jewish experience and the lesbian experience in the early 1900s, and it’s great. Like, I can’t say this enough. It’s really good and I would read (or watch) it daily if I could.
I went through it again to pick out a few choice quotes to utilize in my review, but I ended up bookmarking too many to use, so I’ll just dump a couple of my favorite non-spoilers at the end of this rambling review.
“This will be the only role in my lifetime where I could tell someone I love that I love her onstage.”
“We are potchkying wid’ a masterpiece. God forbid the goyim think ladies who work the street are human beings! God forbid the goyim think that Jewish ladies love each other as human beings!”
“Tonight we are going to perform Act Two of the greatest play ever written... Last week we presented Act One, and God willing, next week we will still be here to perform Act Three.”
“Then the wind shifts direction... The troupe can smell the grass in the meadow. Lemml closes his eyes. He makes a wish.”
May 23, 2022
this play is very good. i urge you to go to look up the professionally filmed production (i found it on 123movies) and watch it immediately. this play is good on paper but it is 100% better on the stage. thank you to my script analysis professor for putting this play on the syllabus it was so beautiful im literally trembling as i write this review
December 17, 2017
A masterpiece by Paula Vogel traces the steps of the brilliant play by Sholem Asch as it travels throughout the world until it arrives at Broadway to an unfortunate reception.
June 5, 2022
This unchallenging play just echoes our values back to us - the polar opposite of its inspiration.
Read
March 25, 2024In the play "Indecent" by Paula Vogel it highlights the difficulties faced when being a part of a controversial play. It is about the production of another Yiddish play called "God of Vengeance". The writer of "God of Vengeance", Sholem Asch, has a challenging time getting people to appreciate his characters. “Indecent” details the hardships faced by the actors who rehearsed and performed the play “God of Vengeance”. When performing the play abroad, it was a hit, but once it came to the states and changes were made the highs they felt were long gone. Broadway at the time was not ready for the normalization of a kiss between two women nor of the main female character falling for her father's brothel worker. The actors are then arrested for obscenity due to the controversial topics highlighted in the play.
I found the play interesting to read. Having a play within a play and the breaking of the fourth wall was a unique aspect of the play. Vogel does a fantastic job of highlighting the emotions and struggles the characters felt as they endured the public dismissal of their portrayal in the play. It was eye opening to see the differences in how accepting various nations were at the time for accepting what Broadway felt was “indecent”. The play was successful until they brought it to the States.
Overall, I thought the play was good, but I think it is one I would have enjoyed watching more rather than reading. The switch between languages made it hard for me to grasp the words.
I found the play interesting to read. Having a play within a play and the breaking of the fourth wall was a unique aspect of the play. Vogel does a fantastic job of highlighting the emotions and struggles the characters felt as they endured the public dismissal of their portrayal in the play. It was eye opening to see the differences in how accepting various nations were at the time for accepting what Broadway felt was “indecent”. The play was successful until they brought it to the States.
Overall, I thought the play was good, but I think it is one I would have enjoyed watching more rather than reading. The switch between languages made it hard for me to grasp the words.
June 19, 2019
#20BooksOfSummer
Finished: 19.06.2019
Genre: play
Rating: A
Conclusion:
Reading time: 2 hours
Paula Vogel...if you have never read one of her plays
...start with Indecent
Plot: The play chronicles the events surrounding a
1906 Yiddish theater play that whipped up controversy in its 1923 Broadway premiere.
Broadway performance: 2017 Cort Theatre
Nominated for 3 Tony Awards (won 2)
Cleverly crafted....a play-in-a-play.
Prof of Creative Writing Brown University (1984-2008)
Prof of Playwriting Yale University (2009 - )
...Ms Vogel won Pulitzer Prize for Drama 1998
with her famous play "How I learned to Drive"
#DelightfulRead
Finished: 19.06.2019
Genre: play
Rating: A
Conclusion:
Reading time: 2 hours
Paula Vogel...if you have never read one of her plays
...start with Indecent
Plot: The play chronicles the events surrounding a
1906 Yiddish theater play that whipped up controversy in its 1923 Broadway premiere.
Broadway performance: 2017 Cort Theatre
Nominated for 3 Tony Awards (won 2)
Cleverly crafted....a play-in-a-play.
Prof of Creative Writing Brown University (1984-2008)
Prof of Playwriting Yale University (2009 - )
...Ms Vogel won Pulitzer Prize for Drama 1998
with her famous play "How I learned to Drive"
#DelightfulRead
December 26, 2021
Similarly to The Humans, I think Indecent is written spectacularly for the stage. That is, I think watching the play acted would greatly enhance my experience. Thankfully, the Broadway production was taped by PBS and I’ll be watching it tonight. What an interesting bit of history!
October 31, 2024
My favorite play
March 14, 2025
Indecent
Overall Rating: ⭐ ⭐ ⭐ ⭐ (4/5) or 7.57/10 overall
Characters - 7
Atmosphere - 8
Writing - 9
Plot - 7
Intrigue - 9
Logic - 7
Enjoyment - 6
Overall Rating: ⭐ ⭐ ⭐ ⭐ (4/5) or 7.57/10 overall
Characters - 7
Atmosphere - 8
Writing - 9
Plot - 7
Intrigue - 9
Logic - 7
Enjoyment - 6
November 27, 2020
I highly recommend reading this and watching the production on Broadway HD. There are certain especially touching, beautiful elements of this play that I did not fully appreciate from the text alone. A heartbreaking and lovely play.
December 8, 2024
This is such a moving play to read, and I’m sure it’s even better to see live! It makes very important marks on how blatant antisemitism was at the time. Also how people view lesbians, and how the play is a “tarnish” on the already bad rap that Jewish people had, therefore they didn’t want it produced. Very sad but very important. Showcasing the change that needs made in the way we think of others.
August 14, 2021
This play haunts me in a way that no other piece of writing ever has. Maybe that's because it feels so specifically tuned to me - there are precious few pieces of Jewish sapphic media that explore this intersection so thoughtfully and full of care. But I think it's the knowing that this is based in real history, that as far back as over a century ago there was someone who cared to show that Jewish women do love each other as human beings, and a whole company was punished for portraying that honestly. I don't think I can properly express what it means to read or hear "a Shanda for the goyim" shouted aloud, nor "this will be the only role in my lifetime where I can tell someone I love that I love her onstage", nor "to know where we've come from, and to know where we have to go and feel hopeful that we can get there", nor the verse or songs inseparable from their unambiguously Jewish history.
From ashes they rise. A blink in time, ashes to ashes, and the troupe returns to dust. But their story lives on. And that, I think, is the most powerful testament that anyone could pray for.
From ashes they rise. A blink in time, ashes to ashes, and the troupe returns to dust. But their story lives on. And that, I think, is the most powerful testament that anyone could pray for.
August 15, 2021
Maybe I’m in a rut but I couldn’t connect with any of this. It’s clearly very meaningful to those with Jewish and/or American historical links. I’m sure I missed a lot in my cultural ignorance - probably seeing a production would help fill in some context, but it went straight over my head unfortunately
January 19, 2019
Hands down one of the most brilliant pieces of theater I have ever read.
March 24, 2024
The true story playwright written by Paula Vogel called Indecent, a drama about a production that involved two women who shared a kiss which led to an obscenity trial in 1923 in Europe that happened on an American stage. The play was known in Yiddish as haunting truths about the nature of storytelling. The original Broadway production of Indecent was conceived and directed by Rebecca Taichman. It was also produced by Daryl Roth, Elizabeth I. McCann, and Cody Lassen. Indecent was open on Broadway on April 18, 2017. The play lifts up on Sholem Asch’s play God of Vengeance out of the past. The play revolves around Jewish religion and Asch’s work through Warshaw in 1907 to the World War II era. The play dealt with a lot of drama with some of the scenes and inappropriate languages they used in some of the scenes. Based on Yekel’s life and family and the love between Rifkele and Manke, who is one of the prostitutes from the brothel. A while later the play was shut down and some of the producers, director, and the actors were charged with obscenity. The production was so important to these people that they dealt with a heartbreaking loss of art and culture for an entire people.
In my opinion it was a little difficult reading this play because it was both in a different language and in english at once. It makes it kind of tough for me to understand the play as I am reading it. It was a little dramatic and I like that kind of genre for productions or any readings. I also enjoyed the whole concept of the play because of its title change. It’s originally called Indecent then mostly based on, God of Vengeance, the language and accent change. I found it was interesting how they added a woman romance to it even though the producer kept being mad about it. The most popular scene which led to sexuality for the production was the “Rain Scene” between the two women. But then again Dorothee seemed uncomfortable about the “lesbian” term, maybe it makes her uncomfortable because she doesn’t like that label. Maybe she isn’t one or is and isn’t ready to come out. Some people thought the play was inappropriate and one jewish rabbi worked to get the play banned. Which lead to some of the actors being arrested on charges of indecency. Later on after the whole production trail in one of the last scenes of the play Asch and Madje met a young jewish man named Rosen. He became passionate about producing God of Vengeance in the original form. He carried on the production with the “Rain Scene” the women dancing instead of the original play. I liked reading the play but it was too in depth with religion and sexuality which isn’t my cup of tea.
In my opinion it was a little difficult reading this play because it was both in a different language and in english at once. It makes it kind of tough for me to understand the play as I am reading it. It was a little dramatic and I like that kind of genre for productions or any readings. I also enjoyed the whole concept of the play because of its title change. It’s originally called Indecent then mostly based on, God of Vengeance, the language and accent change. I found it was interesting how they added a woman romance to it even though the producer kept being mad about it. The most popular scene which led to sexuality for the production was the “Rain Scene” between the two women. But then again Dorothee seemed uncomfortable about the “lesbian” term, maybe it makes her uncomfortable because she doesn’t like that label. Maybe she isn’t one or is and isn’t ready to come out. Some people thought the play was inappropriate and one jewish rabbi worked to get the play banned. Which lead to some of the actors being arrested on charges of indecency. Later on after the whole production trail in one of the last scenes of the play Asch and Madje met a young jewish man named Rosen. He became passionate about producing God of Vengeance in the original form. He carried on the production with the “Rain Scene” the women dancing instead of the original play. I liked reading the play but it was too in depth with religion and sexuality which isn’t my cup of tea.
This entire review has been hidden because of spoilers.
March 25, 2024
In the play titled “Indecent”, author Paula Vogel tells the story of the playwright Solem Asch and how he at first fought for his play called, “The God Of Vengence”, to be performed on a stage but then his determination depletes after many individuals tell him his play goes against many social norms and would not bring in a substantial amount of money. In the beginning of the play by Paula Vogel, we see a young Solemn Asch in a meeting with other gentlemen. He tries desperately to get his play approved, but the men in the reading do not agree with what the play entails. One of the main problems that the men have with the play is that it features the story of a young girl who falls in love with a prostitute who works in her father's brothel. The men believe that the play is too crass and makes a mockery of people of Jewish culture since the characters of the play are mostly Jewish. Eventually, the play is performed by some actors who fall in love with it. They stop at nothing to perform The God of Vengeance to people all around because they believe that it tells a beautiful story and that it has one of the most beautiful scenes of love ever written and performed by two women.
I very much enjoyed this play. I really liked how the performance actors fell in love with the play and wanted to perform it no matter how much it upset some people. I think it was a shame that the playwright didn't even really know what he was signing off to when they made him sign for his play to be changed. The play was a very important work that broke the social norms at the time. The only problem I had with the play was that it was hard to follow. It was hard for me to follow along with “Indecent” and keep up with the storyline of “The God of Vengeance” as well. It was also hard for me to keep track of the characters and actors because there was one actor to many different characters. Despite this, I still really liked the play and I look forward to reading “The God of Vengence”.
I very much enjoyed this play. I really liked how the performance actors fell in love with the play and wanted to perform it no matter how much it upset some people. I think it was a shame that the playwright didn't even really know what he was signing off to when they made him sign for his play to be changed. The play was a very important work that broke the social norms at the time. The only problem I had with the play was that it was hard to follow. It was hard for me to follow along with “Indecent” and keep up with the storyline of “The God of Vengeance” as well. It was also hard for me to keep track of the characters and actors because there was one actor to many different characters. Despite this, I still really liked the play and I look forward to reading “The God of Vengence”.
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March 25, 2024Summary: Paula Vogel’s Indecent tells the reader about a controversial play, The God of Vengeance, by Sholem Asch. The story follows the daughter of a brothel owner who falls in love with one of her father’s prostitutes. The play is spoken in the languages that represent the character's ethnocultural background. Although English is the language the characters speak, an English-speaking audience can understand the narrative of the expression of sexuality represents the play’s freedom. The story for the most follows multiple perspectives. But has no clear narrator, antagonist, protagonist, or central character as the story is unfolding.
Commentary: The play achieved success in the European theater and its Yiddish audience in downtown New York City. When the play was introduced in 1923 to Broadway it proved too scandalous for the public at the time. The cast was arrested and charged with obscenity and opposition from people who had opinions that relationships between two women are immoral and the portrayal of the Jewish community is anti-Semitic. However, Vogel’s Indecent Play demonstrates resiliency that regardless of the adversity Sholem Asch’s play shows the character’s love and celebration in a way that the public deemed to be controversial but yet still found success in theater. I enjoyed how the play develops the plot and illustrates the demonstration from the characters to obtain freedom to be able to express themselves freely. The play has two opposite views of people who are attracted to the same sex and people who have different faiths but practice their faith in pursuit of freedom. There is a clear message of the ideal that freedom of expression is a truth that specific circumstances to characters wish to portray to the audience.
Commentary: The play achieved success in the European theater and its Yiddish audience in downtown New York City. When the play was introduced in 1923 to Broadway it proved too scandalous for the public at the time. The cast was arrested and charged with obscenity and opposition from people who had opinions that relationships between two women are immoral and the portrayal of the Jewish community is anti-Semitic. However, Vogel’s Indecent Play demonstrates resiliency that regardless of the adversity Sholem Asch’s play shows the character’s love and celebration in a way that the public deemed to be controversial but yet still found success in theater. I enjoyed how the play develops the plot and illustrates the demonstration from the characters to obtain freedom to be able to express themselves freely. The play has two opposite views of people who are attracted to the same sex and people who have different faiths but practice their faith in pursuit of freedom. There is a clear message of the ideal that freedom of expression is a truth that specific circumstances to characters wish to portray to the audience.
March 24, 2024
In the play “Indecent” by Paula Vogel, it talks about the true events that surrounded the 1923 broadway debut “God of Vengeance” by Sholem Asch. The play begins within a play and tells the story of a daughter who falls in love with one of her fathers prostitute. At the first reading many people were shocked because back then being gay was frowned upon and wasn’t seen and normalized especially on Broadway, but even with their odds it was successful. It wasn’t until they had an English translator that everything went downhill. With the addition of the kiss between two women, it was too appalling for the public which ended with the cast being arrested and charged for indecency.
When reading this play I felt so many emotions and most of it was anger. I felt anger just because I hated the way people were so homophobic over a kiss and how it ended for the cast. It was also frustrating to read how hard the actresses were working on their scenes and how they were looking forward to the play because it was something groundbreaking for them only to be told they were going to cancel it and change the whole story for the girl characters. One theme that I noticed throughout the play was hope. With the many setbacks that Sholem Asch had throughout the play, his play was still a success to others and he was even asked for the script so it can be performed at a University. This shows how important hope is because without it Asch could’ve easily quit, especially with the many obstacles he and his cast experienced. His hope and believing in the power of the play moved others and even though it almost wasn’t a success, the ending was worth it because other people wanted to show it like the University and I feel like change starts with the young generation.
When reading this play I felt so many emotions and most of it was anger. I felt anger just because I hated the way people were so homophobic over a kiss and how it ended for the cast. It was also frustrating to read how hard the actresses were working on their scenes and how they were looking forward to the play because it was something groundbreaking for them only to be told they were going to cancel it and change the whole story for the girl characters. One theme that I noticed throughout the play was hope. With the many setbacks that Sholem Asch had throughout the play, his play was still a success to others and he was even asked for the script so it can be performed at a University. This shows how important hope is because without it Asch could’ve easily quit, especially with the many obstacles he and his cast experienced. His hope and believing in the power of the play moved others and even though it almost wasn’t a success, the ending was worth it because other people wanted to show it like the University and I feel like change starts with the young generation.
This entire review has been hidden because of spoilers.
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March 24, 2024Indecent tells the tale of a Yiddish theater troupe trying to make their way on Broadway, being a play within a play, telling the story of Sholem Asch’s, “God of Vengeance.” It dives into themes of hypocrisy, both religiously and socially, and notes on what is seen as “indecent” from different viewpoints. From a lesbian relationship on the stage to the throwing of a Torah, the troupe faces different offenses of obscenity, finding themselves arrested. However, even in the face of the Holocaust and hardships that the actors themselves face, nothing takes away the dream of freely portraying love on the stage.
This play was an interesting one to read, in my opinion. I thought that the concept of covering another play within a play was unique, being able to show different points of view on that material. I think that Paula Vogel does a great job at portraying the struggles that the characters endure, not only in becoming their characters in the play, but also facing the criticisms from the public on the material that they were presenting. Indecent leaves the reader/audience with a lot of food for thought, thinking about what is and is not “indecent” and how people around us may interpret sensitive/more controversial topics.
This play was an interesting one to read, in my opinion. I thought that the concept of covering another play within a play was unique, being able to show different points of view on that material. I think that Paula Vogel does a great job at portraying the struggles that the characters endure, not only in becoming their characters in the play, but also facing the criticisms from the public on the material that they were presenting. Indecent leaves the reader/audience with a lot of food for thought, thinking about what is and is not “indecent” and how people around us may interpret sensitive/more controversial topics.
April 8, 2019
Don’t let the three stars fool you. This play was GOOD. It was strong, but I didn’t feel like it was too heavy. The fact that it’s based off of a true story makes it that much more impactful.
However, if you get the chance to watch it rather than read it, DO THAT. Plays are meant to be seen, and this is extremely evident here. There’s a cast of 7 playing 30+ characters, with different actors playing the same character as time goes on and they get older. It’s a wonderful device, but confusing to read, and I had to keep flipping to the character list to keep everything straight.
There are some plays I’ve read and didn’t like until I watched them (i.e. Death of a Salesman, The Crucible). This one I enjoyed reading, but I know I would like it much more if I were to see it.
However, if you get the chance to watch it rather than read it, DO THAT. Plays are meant to be seen, and this is extremely evident here. There’s a cast of 7 playing 30+ characters, with different actors playing the same character as time goes on and they get older. It’s a wonderful device, but confusing to read, and I had to keep flipping to the character list to keep everything straight.
There are some plays I’ve read and didn’t like until I watched them (i.e. Death of a Salesman, The Crucible). This one I enjoyed reading, but I know I would like it much more if I were to see it.
June 9, 2019
This book would probably be better seen staged rather than read, but it will probably not be staged very often, so reading is as good as it gets. The play is about a play that is not often staged and more often read, so that makes it come full circle.
I admire the playwright for tackling this subject which involves a play originally written in 1907, multiple languages, religious objections, sexual honesty, and the police arresting the cast when it was performed on Broadway in New York in 1923! I doubt that many people could have done as well as Paula Vogel did in focusing on the human emotions of the people involved rather than the complicated facts of the situation.
I admire the playwright for tackling this subject which involves a play originally written in 1907, multiple languages, religious objections, sexual honesty, and the police arresting the cast when it was performed on Broadway in New York in 1923! I doubt that many people could have done as well as Paula Vogel did in focusing on the human emotions of the people involved rather than the complicated facts of the situation.
January 26, 2023
this play was incredibly impactful in so many ways. Paula Vogel really does not shy away from complex topics, does she?? the exploration and commentary on homosexuality in this show were somehow tender yet powerful. and the ending...how did i just happen to read this on a random Wednesday night?? i need to see it live as soon as possible.
June 11, 2024
was talking ab this with someone yesterday and they were like “yeah i saw the yale rep production of indecent” and i was like well, what did you think and their response was just “it was one of those productions that you see and it’s just like- totally stupid. everything about it was perfect. just a perfect play. so stupid”
January 11, 2025
Oof, not my fave by any means. Read for ALP play book club and would’ve never picked this up on my own volition. It’d be much better to see live. You could tell that Vogel didn’t have the idea for the play herself —the writing seemed forced and lacked character development and a through line.
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April 13, 2020Wow.
August 31, 2020
It’s clearly done in an interesting way but I think it’s one that you really need to watch not read.
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