There was a time in American history where performance content was held to a much stricter standard than it is now. The United States has of course evolved at a rapid pace, now so to the point where actors can practically engage in full on coitus on stage or screen without it be labelled as porn. This wasn’t always so and in fact, in the early stages of the American theatre one might find themselves arrested and/or charged for any minor hint of obscenity. Indecent is play that paints this picture for audiences of today who find themselves living in a far more relaxed era in comparison.
Indecent is play that paints this picture for audiences of today who find themselves living in a far more relaxed era in comparison.
It’s based on the staging of another play, God of Vengeance. God of Vengeance was a play originally written in Yiddish that depicted a lesbian love story during a time where homosexuality was rejected by society in its entirety. The playwright was also a Polish-Jew, thus bringing about feelings of Anti-Semitism amongst the play’s detractors. Not only was the act of same sex activity and prostitution considered highly immoral, the mere mention of either could see those involved completely shamed and ostracized from society; particularly from those within the Jewish community. When God of Vengeance was first staged, this was essentially the response to those who risked everything just in even staging the play in English. Indecent shows the story of the original play’s journey from its first live reading to its staging, and the consequences that followed for those who took part.
If there’s one thing this play does well, it’s the integration of music into the transitions between scenes. Indecent is not a musical, but the use of live music along with carefully choreographed movement gives the play life and energy that is supposedly indicative of Yiddish traditions. The play is paced well with the assistance of the actors, all of whom play multiple parts at different points of the play’s timeline. Paula Vogel’s writing is not only the foundation, but also a plus and the most critically driving force for the play’s success. The character’s dialogue is written with a clear passion to tell this story regardless of how it may be received by the public. The lighting design is sufficient and the play is directed so that the actors take part in the changing of sets, props, etc. Overall, everything ‘works’ for the way the production is tailored by director Rebecca Taichman.
Indecent is a production that will resonate with some, and be less understood by others. One thing that should not be of issue though, is boredom. With all of the music, movement, lighting cues, and continuous dialogue between characters, there are very few moments where the show lags or slows down. With credit to the actors, the characters are all interesting enough to engage with from the start to the finish, giving the audience enough of a reason to care. This version of the show is now closed, but the recorded version is streaming on Broadway HD.
