Now extended through August 6, don't miss the sensational 2017 Tony Award-winning new play from Pulitzer Prize winner Paula Vogel, co-created by Tony Award-winning director Rebecca Taichman. This play with music, inspired by the true story of the controversial 1923 Broadway debut of Sholem Asch's God of Vengeance, is a riveting look at an explosive moment in theatrical history. The New York Times calls it 'superbly realized and remarkably powerful.' Time Out New York calls it '100 minutes of potent theatrical magic.'...
- 7/10/2017
- by Contests - Broadway
- BroadwayWorld.com
If you have a theater fan in your life who has been extra hyped these days, it’s likely because the 2017 Tony Awards are nearly here.
The Antoinette Perry Awards for Excellence in Theatre (as the Tonys are officially known) recognize the highest honor in U.S. theater — the equivalent of television’s Emmys or the film industry’s Oscars.
With no Hamilton-sized hit this year, the race in the top categories has been pretty wide open and hard to predict — with only Bette Midler’s turn in the revival of Hello, Dolly! a lock for the best actress in a musical prize.
The Antoinette Perry Awards for Excellence in Theatre (as the Tonys are officially known) recognize the highest honor in U.S. theater — the equivalent of television’s Emmys or the film industry’s Oscars.
With no Hamilton-sized hit this year, the race in the top categories has been pretty wide open and hard to predict — with only Bette Midler’s turn in the revival of Hello, Dolly! a lock for the best actress in a musical prize.
- 6/11/2017
- by Dave Quinn
- PEOPLE.com
Paula Vogel’s “Indecent” is many things: an idiosyncratic mix of music, memory and theater magic; a female take on an infamous male intellectual; a Holocaust parable that manages to surprise; a lesbian love story both lyrical and consumed with lust; a provocative piece of found history that holds up an eerie mirror to our times. The Pulitzer-winning playwright, author of more than a dozen distinctive works, has been talking to countless audiences about her first show to land on Broadway human -- separately discovered the same censored story. Vogel spoke with me a few days before the Tonys, which she planned to attend as a Best Play nominee.
Is it strange to be where you are now? Are you surprised to be on Broadway?
I find it just a continuation of what I’ve been doing. It’s like going from Rhode Island to Texas -- the roads are the same,...
Is it strange to be where you are now? Are you surprised to be on Broadway?
I find it just a continuation of what I’ve been doing. It’s like going from Rhode Island to Texas -- the roads are the same,...
- 6/10/2017
- by Helen Eisenbach
- www.culturecatch.com
Indecent Cort Theatre, NYC
Indecent is a strange play. It's like getting a gorgeously wrapped package and finding something insubstantial and vaguely disturbing inside the box.
The packaging of Indecent includes fantastic direction from Rebecca Taichman, engaging writing from Paula Vogel and a near-perfect ensemble of performers. But once you get past the seduction of the production, you have to wonder why so much talent was lavished on what is no more than a historical theatrical footnote.
That footnote is the closing of God of Vengeance on Broadway early in the last century for indecency. The play was apparently a big hit both way downtown (in the thriving Yiddish theater) and mid-downtown in Greenwich Village -- not to mention in many European cities -- but the move to Broadway seems unnecessary, unless the producer purposefully wanted to traffic in scandal.
What's most emotionally compelling about Indecent is also what's most intellectually disturbing about it.
Indecent is a strange play. It's like getting a gorgeously wrapped package and finding something insubstantial and vaguely disturbing inside the box.
The packaging of Indecent includes fantastic direction from Rebecca Taichman, engaging writing from Paula Vogel and a near-perfect ensemble of performers. But once you get past the seduction of the production, you have to wonder why so much talent was lavished on what is no more than a historical theatrical footnote.
That footnote is the closing of God of Vengeance on Broadway early in the last century for indecency. The play was apparently a big hit both way downtown (in the thriving Yiddish theater) and mid-downtown in Greenwich Village -- not to mention in many European cities -- but the move to Broadway seems unnecessary, unless the producer purposefully wanted to traffic in scandal.
What's most emotionally compelling about Indecent is also what's most intellectually disturbing about it.
- 5/14/2017
- by Mark Weston
- www.culturecatch.com
It’s the Jewish “Shuffle Along.” Paula Vogel takes a forgotten but seminal work, Sholem Asch’s “The God of Vengeance,” and tells the backstory of its incredible journey in her new play, “Indecent,” which opened on Tuesday nearly a year after its premiere at Off Broadway’s Vineyard Theatre with much of the same cast. Last season on Broadway, director George C. Wolfe resurrected a hit 1921 musical, “Shuffle Along,” giving a rich behind-the-scenes history of its African American creative team but little of the original plot. Vogel gives us much of Asch’s plot in her new play, and what a story it.
- 4/19/2017
- by Robert Hofler
- The Wrap
Indecent is inspired by the true events surrounding the controversial 1923 Broadway debut of Sholem Asch's God Of Vengeance - a play seen by some as a seminal work of Jewish culture, and by others as an act of traitorous libel. At a time when Us borders were closing to immigration, Indecent charts the history of an incendiary drama and the path of the artists who risked their careers and lives to perform it.
- 2/21/2017
- by Stage Tube
- BroadwayWorld.com
Yiddishkeit: Jewish Vernacular & The New Land
edited by Harvey Pekar & Paul Buhle with Hershl Hartman
Abrams Comicarts, 240 pages
It always seemed to me like mine was the last secular “Jewish generation” in America. Born in the mid-1950s, in the depths of Brooklyn in a neighborhood adjacent to the heavily Orthodox neighborhood of Crown Heights, surrounded on all sides by three generations of family, including grandparents and great-grandparents born in the old country, the entire world seemed Jewish. Even when my family moved (briefly) to West Virginia (population 5,000, only seven of which were Jews), then back to Brooklyn, to Canarsie and East Flatbush, the feeling of Jewishness never went away. The neighborhoods were now a mix of Irish, Italian, and Jewish, even a sprinkling of Afro-Americans, but when the family gathered, Yiddish was still spoken among the adults when the topic wasn’t fit for kinder, children. As a result,...
edited by Harvey Pekar & Paul Buhle with Hershl Hartman
Abrams Comicarts, 240 pages
It always seemed to me like mine was the last secular “Jewish generation” in America. Born in the mid-1950s, in the depths of Brooklyn in a neighborhood adjacent to the heavily Orthodox neighborhood of Crown Heights, surrounded on all sides by three generations of family, including grandparents and great-grandparents born in the old country, the entire world seemed Jewish. Even when my family moved (briefly) to West Virginia (population 5,000, only seven of which were Jews), then back to Brooklyn, to Canarsie and East Flatbush, the feeling of Jewishness never went away. The neighborhoods were now a mix of Irish, Italian, and Jewish, even a sprinkling of Afro-Americans, but when the family gathered, Yiddish was still spoken among the adults when the topic wasn’t fit for kinder, children. As a result,...
- 9/1/2011
- by Paul Kupperberg
- Comicmix.com
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