#INDECENT

[cascadeoceanwave]

musical theatre challenge: 1/1 seasons | 2016-2017 (insp)

[treedaddymcpuffpuff]

for the love of god, please tell me that’s a mini coke can…

[buttsexio]

[madeofbees]

honest Hannibal promos 1/∞

[wildwood-faun]

she's sooooo

[dadsandhorror]

I'm only on the first season and Evil is already hitting me hard in the priest kink. Like, this guy looks like he'd pray for forgiveness while getting his first blowjob in 30 years (maybe ever), and I like that in a man.

[straightplayshowdown]

Indecent: The story of Sholem Asch’s controversial play, The God of Vengeance, and the passionate artists who risked everything to bring it to the stage. The story—about the daughter of a brothel owner who falls in love with one of her father’s prostitutes—was polarizing even at its first readings, with many of Asch’s fellows arising him to burn it. Nevertheless, it achieved great success on the stages of Europe and in the Yiddish theatre scene of downtown New York City. But when an English-translation was attempted on Broadway, the play—featuring the first kiss between women on a Broadway stage—proved too scandalous for the general public, and the entire cast was arrested and charged with obscenity. 

Arcadia: The show takes place in a single room on the Coverly estate in two separate times: the Regency period and the present. 1809 finds a household in transition, where an Arcadian English garden landscape is being uprooted to make way for picturesque Gothic gardens, complete with hermitage. Meanwhile, brilliant thirteen-year-old Lady Thomasina proposes a startling scientific theory that is only starting to be figured out more than 200 years later. In the present day, we find two competing scholars researching the world of the estate in the Regency Era.

Propaganda under the cut!

Indecent:

Best, most emotionally resonant play I have ever seen performed. It recounts the controversy surrounding the play God of Vengeance by Sholem Asch, which was produced on Broadway in 1923, and for which the producer and cast were arrested and convicted on the grounds of obscenity. In God of Vengeance, the brothel owner's daughter falls in love with the female prostitute. Vogel's play goes far beyond recounting the censorship. It's a complex story that follows the show's playwright and performers and how their relationship to the material changes from the plays original run, to the Broadway censorship, to the Holocaust. It focuses on the need for hope and love.

A troupe of ghosts rise to keep alive the story of author Scholem Asch's most controversy play. In three languages & innumerable roles (including a turn by Katarina Lenk in the 2017 Broadway production) the lovers in God of Vengeance preserve for the stages of eternity one rain-soaked & sacred night. Meanwhile Asch, once a passionate defender of the plays love story against intracommunal accusations of fueling antisemitism and well, indecency...he gets quieter as Lemml becomes the stage manager of a story whose ending he will always forget. The play that convinced me that I could & would read Yiddish theater.

A breathtaking play about art, censorship, and Jewish lesbians, by THE Jewish lesbian. "He’s crafted a play that shrouds us in a deep, deep fog of human depravity: then like a lighthouse, those two girls. That’s a beacon I will remember."

Arcadia: 

it's the COOLEST. it's an exploration of entropy and how time scrambles popular perception and desire derails supposedly perfect plans and how knowledge makes its way through the years as sources get lost. 

it's about math and also lord byron is a character and there's a turtle

This is his best play (and pretty accessible for Stoppard). It’s an exploration of humanities vs. science, chaos theory, the interpretation of history, and also a love story. 

This is such a beautiful play about academia and how we do research and understand the past. And it's about love and friendship and biases and egos and so much more. 

THOMASINA: Oh, Septimus! -- can you bear it? All the lost plays of the Athenians! Two hundred at least by Aeschylus, Sophocles, Euripides -- thousands of poems -- Aristotle's own library!....How can we sleep for grief?

SEPTIMUS: By counting our stock. Seven plays from Aeschylus, seven from Sophocles, nineteen from Euripides, my lady! You should no more grieve for the rest than for a buckle lost from your first shoe, or for your lesson book which will be lost when you are old. We shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind. The procession is very long and life is very short. We die on the march. But there is nothing outside the march so nothing can be lost to it. The missing plays of Sophocles will turn up piece by piece, or be written again in another language. Ancient cures for diseases will reveal themselves once more. Mathematical discoveries glimpsed and lost to view will have their time again. You do not suppose, my lady, that if all of Archimedes had been hiding in the great library of Alexandria, we would be at a loss for a corkscrew?

[do-you-know-this-play]

[shtetlcore]

Shtetl Swag Competition Round 1

Masterpost

ROUND 1:

1. The Golem of Prague vs. The Tavernkeeper WINNER: GOLEM

2. Lemml (Indecent) vs. The Little Goat WINNER: LITTLE GOAT

3. The Rabbi vs. Fruma Sarah WINNER: THE RABBI

4. Leah (The Dybbuk) vs. The Shadchan WINNER: LEAH

5. Sheydim vs. Manke (God of Vengeance) WINNER: MANKE

6. Menachem Mendel vs. Tevye WINNER: TEVYE

7. The Wooden Shul vs. Mirke (Hereville) WINNER: THE WOODEN SHUL

8. Miryem Mandelstam (Spinning Silver) vs. The Klezmer WINNER: THE KLEZMER

9. Dybbukim vs. The Shnorer WINNER: DYBBUKIM

10. Yentl vs. Asa Heshel (The Family Moskat) WINNER: YENTL

11. Little Ash vs. The Feldsher WINNER: THE FELDSHER

12. Joseph’s Grandfather (Something From Nothing) vs. The Zogerke WINNER: THE ZOGERKE

13. Hershel of Ostropol vs. The Klogerin WINNER: HERSHEL

14. The Shammes vs. Anon’s Great-Grandma Babushka Riva WINNER: BABUSHKA RIVA

15. Shomer Dapim vs. The Wise Men of Chelm WINNER: THE WISE MEN OF CHELM

16. And They Were Chrevrusas vs. Shretlech WINNER: THE CHEVRUSAS

[servilius]

Ana Guzmán Quintero and Majo Pérez in Cristian Magaloni's production of Paula Vogel's Indecent. Teatro Helénico, 2022. (Photo: Charly Duchanoy)

[albiclalepsza]

😳😳😳

HE IS LITERALLY SOAKING WET

[xshiroyuukix]

CRYING

[theeviltrinity]

Beelzebub, as a demon of gluttony, allows us to truly enjoy, without the uncomfortable side effects, our food in a sinful way.

Asmodeus prepares delicious spreads and banquets of foods. As a demon of lust, Asmodeus never fails to prepare a satisfying table spread. Asmodeus is loyal evermost to Lucifer.

[nebylitsa]

ASCH: Do you know what a minyan is? It's ten Jews in a circle accusing each other of anti-Semitism.

Indecent, Paula Vogel

[straightplayshowdown]

Indecent: The story of Sholem Asch’s controversial play, The God of Vengeance, and the passionate artists who risked everything to bring it to the stage. The story—about the daughter of a brothel owner who falls in love with one of her father’s prostitutes—was polarizing even at its first readings, with many of Asch’s fellows arising him to burn it. Nevertheless, it achieved great success on the stages of Europe and in the Yiddish theatre scene of downtown New York City. But when an English-translation was attempted on Broadway, the play—featuring the first kiss between women on a Broadway stage—proved too scandalous for the general public, and the entire cast was arrested and charged with obscenity. 

Medea: The plot centers on the actions of Medea, a former princess of the kingdom of Colchis, and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of Corinth. Medea takes vengeance on Jason by murdering his new wife as well as her own two sons, after which she escapes to Athens to start a new life.

Propaganda under the cut!

Indecent:

Best, most emotionally resonant play I have ever seen performed. It recounts the controversy surrounding the play God of Vengeance by Sholem Asch, which was produced on Broadway in 1923, and for which the producer and cast were arrested and convicted on the grounds of obscenity. In God of Vengeance, the brothel owner's daughter falls in love with the female prostitute. Vogel's play goes far beyond recounting the censorship. It's a complex story that follows the show's playwright and performers and how their relationship to the material changes from the plays original run, to the Broadway censorship, to the Holocaust. It focuses on the need for hope and love.

A troupe of ghosts rise to keep alive the story of author Scholem Asch's most controversy play. In three languages & innumerable roles (including a turn by Katarina Lenk in the 2017 Broadway production) the lovers in God of Vengeance preserve for the stages of eternity one rain-soaked & sacred night. Meanwhile Asch, once a passionate defender of the plays love story against intracommunal accusations of fueling antisemitism and well, indecency...he gets quieter as Lemml becomes the stage manager of a story whose ending he will always forget. The play that convinced me that I could & would read Yiddish theater.

A breathtaking play about art, censorship, and Jewish lesbians, by THE Jewish lesbian. "He’s crafted a play that shrouds us in a deep, deep fog of human depravity: then like a lighthouse, those two girls. That’s a beacon I will remember."

Medea:

Imagine you are an Athenian man at the Dionysia circa. 431 BC. You are drunk. Your little Athenian wife is at home weaving or giving birth or talking to the slaves about vegetables or something. On stage, you watch a man dressed as a woman give one of the greatest monologues of all time about how hard it is to be a woman. Maybe you are moved, maybe not. Then you watch her KILL HER CHILDREN with a sword and FLY off into the sky in a chariot pulled by DRAGONS. Wyd?

I do love me a greek play. Chorus is all 'oh no, murder is happening, someone stop it. We can't, obvs '

It’s MEDEA by EURIPIDES. 

[a-malady]

genuinely one of the most interesting openings to a play I have ever read, even though I don’t remember much about the play proper this imagery always stuck with me