6/30/2023 0 Comments Paula vogel's indecent![]() ![]() ![]() One of the cool things about “Indecent,” which I first reviewed on Broadway and which opened this past weekend at the Victory Gardens Theater in Chicago, is that Vogel clearly was on a mission to do for Asch what he could not finish for himself - gain his rightful place as a major 20th-century dramatist as willing and able to take the same risks as any Eugene O’Neill - while also celebrating the enormous obstacles faced by the hardworking men and women of the Yiddish theater, marginalized professionals forced to battle prejudice and resentment within the theater industry and New York politics, even as the flames of fascism began to lick at their heels.Īnyone interested in either Yiddish theater or in the work of a writer, Vogel, who has become essential to the American theater, will likely find director Gary Griffin’s Chicago premiere very worthwhile. ![]() ![]() That celebration of Asch - a pivotal figure in the Yiddish theater and in the history of the American stage - continued last season on Broadway with Paula Vogel’s “Indecent,” a very successful new meta-play about the tortured real-life history of “God of Vengeance,” a tempestuous, populist drama that dared to chronicle religious and social hypocrisy - yep, that has been hanging around America for a while - and ended up for its pains as the subject of an obscenity trial after it opened on Broadway in 1923. ![]()
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