“Indecent” is now playing at the Ahmanson Theatre in downtown Los Angeles. The play, written by Paula Vogel, opened on Broadway in 2017 and thereafter received three Tony nominations for which it won two awards for Best Direction and Lighting Design.
Even though there are musical numbers throughout the play it doesn’t conveniently fall in to the category of a Broadway musical but seems like, and is, an introspective play that examines what is considered morally correct and how stories like this fit into the larger picture of society.
The God Of Vengeance
The production, which is essentially a play within a play, chronicles the creation, development, early performances, and evolution of The God Of Vengeance which was written in 1906 by a Polish-Jewish playwright named Sholem Asch.
“Indecent” takes a behind the scenes look at the problems and challenges associated with producing a play with highly controversial content at a time in history when such issues as are raised in The God of Vengeance could be considered not only indecent but illegal.
The production, which is under the direction of Rebecca Taichman, was tight and well-paced throughout without any awkward transitions even though the entire cast is on the stage the entire time. The performances from the entire cast were stellar and it would be hard to single out any one actor for praise since they are all deserving of it.
Many Hats
Each performer plays multiple roles and there is never any confusion when they transition from one character to the next. They each get the most out of their roles and it’s a joy to watch the ensemble mesh together into a cohesive unit.
As the audience enters the theatre prior to the beginning of the show, all of the performers are already on stage, each sitting in his or her own chair facing the audience, while remaining perfectly still and in character. So the show does not begin with the curtain being drawn open since it’s been open all this time.
The props, costumes, sets and lighting design are minimal but each is extremely effective. Each performer plays multiple roles throughout the show and the transitions from one character to another are achieved with minor costume adjustments, such as the addition of a scarf or a hat or the removal of a coat.
Not Your Typical Musical
Three of the cast members also offer live musical accompaniment with a violin, a clarinet or saxophone, and an accordion. There are numerous musical numbers performed but it doesn’t have the feel of a typical musical.
The performers move about the space fluidly and at various times throughout the play, text is projected on a screen at the back of the stage which provides some context for what’s taking place on the stage. Most of the action takes place on an elevated platform in the middle of the stage, but other scenes take place on the stage itself and even in the wings which are fully exposed to the view of the audience.
Some of the scenes are performed in a way that the audience is looking at the scenes from a sideways point of view. In these scenes we see the actors in profile as they face the exposed wings to perform for an imaginary audience in that direction. It’s a very unusual technique for staging which was very effective at making us feel as if we’re getting a behind the scenes look at the action.
The performance, which did not include an intermission, was compelling and extremely professional. The problems and challenges experienced by the original cast are investigated in detail and by the end we are all anticipating the presentation of the most controversial scene from The God of Vengeance which has been glimpsed throughout the play but not performed in its entirety. That final scene is breathtaking mainly because of the triumphant performances, but also because it employs the use of a real rainstorm.
When It Rains…It Pours
Downtown Weekly has seen plays where rain is referred to and heard but never where it actually rains onstage and am still wondering how they did it. The entire audience remained fully engaged throughout and could be heard to respond by laughing or making brief exclamations at appropriate moments.
In sum, this production of “Indecent” is highly professional, highly enjoyable, and one which most people would enjoy thoroughly. Do yourself a favor and go enjoy it before it closes.
Pulitzer Prize-Winning Playwright Paula Vogel’s Play Indecent will continue through July 7, 2019. For tickets visit: www.centertheatregroup.org
