KISSING IN THE RAIN: ‘INDECENT’ IN LA
BY RYAN M. LUÉVANO
Playwright Paula Vogel has dedicated her life to bringing underrepresented “real” people to the stage, examining traditionally controversial issues, and telling the stories that as she puts it “[…] wound our memory so we can remember.” Her mission began as a high schooler who ditched school to visit the Library of Congress to read out-of-print novels about lesbian life. Then, while in college she was directed to a yellowing copy of the 1906 play God of Vengence by Shalem Asch hidden in the stacks. Asch’s play, originally in Yiddish, is the impetus and center of Vogel’s latest play Indecent that is currently gracing the Ahmanson Theatre in downtown LA—for on the seventh day, God created Yiddish theater!
What’s astounding about Indecent is that Vogel is able to take God of Vengence’s content, and history, then weave them into a play that functions on a myriad of levels. All this happens while maintaining and developing a relevance to contemporary socio-political issues. The general content of Asch’s play includes Jewish prostitutes, the first lesbian love scene and hurling of a Torah across the stage; and its history includes its entire 1923 Broadway cast, producer and one of the owners of the theater being indicted (and later convicted) on charges of obscenity. However, even with all of this ground to cover, at the heart of Vogel’s play there is a tender love story between two women. This love story gloriously echoes: love is love, is love. A sentiment that culminates in the play’s final moment—one of the most exhilarating moments you will ever experience in the theater.
Even before the play begins the company of actors is seen on stage seated in a line waiting for their journey to begin—the affect here is of anticipation while establishing a serious tone. Then once the show begins director Rebecca Taichman keeps the drama running at a quick pace, only slowing to underscore the play’s most touching moments and revelations. With only seven actors playing multiple roles (between 3-6 roles each), Taichman makes clarity of the upmost importance. For even as we see characters transform into another character with the addition of a headband, or change of accent, the transition is seamless. Indecent is an ensemble piece from start to finish, every individual actor’s performance serves to heighten the plight of the drama at hand for the entire ensemble—the whole is indeed greater than the sum of its parts.
With only seven actors, three onstage musicians, projections and no set pieces bigger than a table, theatre magic is used in the truest sense to tell a story that spans oceans, transcends time and births characters from all over history. The set consists of a large square platform center stage, a brick wall background and a golden trim that frames the stage like a photograph. The large platform, where the majority of the action occurs reminds us of a pedestal where a ritual is set to occur—theater is of course one of the oldest of rituals. This concept of ritual is further built into the fabric on the play by the use if three wondering musicians (accordion, violin and clarinet). These musicians, who also take part in the drama, perform Klezmer music throughout inciting traditional Jewish dance moments that can’t help but scream: “Tradition!”
Upon watching Indecent I can help but draw parallel to Fiddler on the Roof, yet another show (even though it’s a musical) that’s about challenging traditions—however, with Indecent, the roof is on fire and the fiddler must sacrifice themselves for the good of all. Nevertheless, within the content, structure, and storytelling, Indecent provides a glimpse into Vogel’s brilliant mind, ultimately giving audiences a stirring theatrical experience, they will remember and cherish always. Furthermore, the play’s themes of censorship, xenophobia, homophobia and anti-Semitism unfortunately still ring true today, reminding us that even as far as we’ve come, history does repeat itself, and we still have work to do.
TICKETS AND MORE INFORMATION
PHONE: (213) 972-4400
ONLINE: www.CenterTheatreGroup.org
BOX OFFICE: at the Center Theatre Group Box Office located at the Ahmanson Theatre. Tickets range from $30 – $155 (ticket prices are subject to change).
LOCATION: The Ahmanson Theatre is located at The Music Center, 135 N. Grand Avenue in Downtown L.A. 90012.
Tickets range from $30 – $155 (ticket prices are subject to change).
