Running since April 2017 A new drama that follows the history of a controversial Broadway play and the artists that risked everything to perform it.
The Broadway production of Indecent closed August 6, 2017. For current Broadway show listings and tickets, please click here.
From the producers: "Indecent" follows the incredible journey of a controversial piece of theater and the passionate artists who risked their lives to perform it. This riveting and richly theatrical backstage drama is a celebration of art and tradition, a fierce indictment of censorship and a gripping look at an explosive moment in history.
The story of "Indecent" is inspired by the real-life controversy surrounding the 1923 Broadway production of Sholem Asch's "God of Vengeance," the love story of two women. The reaction to Asch's work was divided between those who considered it to be groundbreaking and by others as traitorous. Here's a trailer from the Off Broadway production at Vineyard Theatre:
"Indecent" had its world premiere in October 2015 at Yale Repertory Theatre. The play then enjoyed an acclaimed run Off-Broadway at the Vineyard Theatre in spring 2016. Author Paula Vogel won the Pulitzer Prize for her play "How I Learned to Drive." This production of "Indecent" marks her Broadway debut.
Heart-stirring and haunting...Vogel and Taichman - each in an impressive Broadway debut - tell the story in vibrantly theatrical fashion. The ace ensemble breathes life into more than three dozen characters, with an array accents to match. "Indecent," covers a lot of territory in 100 unbroken minutes. It can be a bit diffuse. Still, the images are indelible. Be prepared for precipitation to fall from your own eyes.
"Indecent" is a play with music, and the production nods to Yiddish and epic theater, using deliberately self-conscious staging and direct calls to our social and moral conscience. [The] excellent ensemble...convey an exuberance and a sense of purpose, reminding us that art can motivate, agitate and uplift. In our own troubled century, there's at least some encouragement to be found there.
New York Magazine
A second viewing of the play, now pumped up and retuned for Broadway, only makes its problems more obvious. Happily, its good qualities are enhanced as well, including an imaginative staging, beautiful klezmer-inspired music, and, most fundamentally, the depth of its engagement with a recalcitrant subject. [The] style may simply not suit a history play; though it is nominally the subject of "Indecent," we never get much of an insight into "God of Vengeance."
New York Times
"Indecent" is, above all, decent, in the most complete sense of the word. It is virtuous, sturdily assembled, informative and brimming with good faith. Yet the ardor that must have informed the writing and early performances of "Vengeance" only occasionally blazes forth. "Indecent," may not inhabit the lightning-struck stratosphere of the play it portrays. But it offers heartening evidence that four decades in the theater have not jaded Ms. Vogel.
Extraordinary...It's a gripping and entertaining show with laughter and tears...[and a] marvelous 10-member cast. Vogel and Taichman have transformed the virtually forgotten story behind an early 20th century international hit into headline-ready theater. In her program note, Vogel writes, "I believe the purpose of theater is to wound our memory so we can remember." "Indecent" does that, but it also enchants.
Time Out New York
With [a] wonderful ensemble cast, it fills a much larger space without losing its essential intimacy. The script is Vogel's, the staging Taichman's, but the two are so lovingly intertwined as to be almost inseparable. The seven actors weave multiple roles into a seamless whole. Rich in sympathy and humor...An elegant tribute to things that vanish in the blink of a historical eye, "Indecent" is a memorial that feels like a blessing.
Riveting...This is not a linear production, so scenes in real time bleed into times past and future. But from time to time the audience can't help but apply its own knowledge to scenes in which the company calmly discusses whether to bring their successful play to the United States. We already know the outcome of their professional arguments. But such is the tension of the production, you want to stand up and warn this brave little troupe to catch that ship before it sails.