The entire cast, producer and the theater itself were found guilty and held accountable for what the New York judge decried as “an indecent, obscene and immoral play, exhibition and drama.” Its calamitous 1923 opening was attended by audiences and law enforcement. This “play within a play” resurrects and re-examines Polish–Jewish scribe Sholem Asch’s controversial early-20th century work God of Vengeance and, in doing so, makes a convincing case for why art must push boundaries.Īsch’s God of Vengeance had a successful run in Europe before making its way to Broadway, where it was immediately picked apart and censored, with crucial scenes cut and dooming it to failure.
This number talks about the assimilation of Jewish immigrants in America. “If people get upset,” Vogel once said, “it’s because the play is working.” The multitalented “Indecent” ensemble embodies dozens of diverse characters who dance, sing and play instruments. And her masterpiece, How I Learned to Drive, which won the 1998 Pulitzer Prize for Drama and finally reaches Broadway in April, is a darkly funny, disturbing and poignant tale about incest, sexual abuse and trauma. Her 1992 work The Baltimore Waltz is an often broadly comic satire about HIV/AIDS and grief. Vogel isn’t one to shy away from an opportunity to challenge preconceived notions of how to discuss and portray difficult topics. Theatrical Outfit’s sublime new production of the drama runs through March 29. Celebrated playwright Paula Vogel’s Indecent cheekily calls itself the “true story of a little Jewish play.” As anyone familiar with Vogel’s body of work may suspect, this piece of theater is far from “little” in its core subject matter: anti-Semitism, xenophobia, genocide, the definition of art, freedom of expression and censorship.
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