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To license the music of INDECENT click here.
INDECENT is the new play from Pulitzer Prize winner Paula Vogel inspired by the true story of the controversial 1923 Broadway debut of Sholem Asch’s God ofVengeance. The New York Times called it “superbly realized and remarkably powerful” and critics have hailed it as one of the best plays of the year. Created by Vogel and director Rebecca Taichman and set at a time when waves of immigrants were changing the face of America, this play with music is a riveting look at an explosive moment in theatrical history and comes to Broadway from its critically acclaimed, sold-out run at the Vineyard Theatre.
Read a letter from the author of God of Vengeance on the right to write.

Playwright / Co-Creator
Paula Vogel is Playwright in Residence at Yale Repertory Theatre. Indecent was commissioned by Oregon Shakespeare Festival’s American Revolutions and Yale Repertory Theatre in close collaboration with director Rebecca Taichman, and co-produced by La Jolla Playhouse. Indecent was developed at the Sundance Theatre Lab in 2013 and has been produced at Yale Repertory Theatre, La Jolla Playhouse and the Vineyard Theatre. Her play How I Learned To Drive received the 1998 Pulitzer Prize for Drama, the Lortel Prize, Drama Desk, Outer Critics Circle, and New York Drama Critics Awards for Best Play, as well as her second Obie Award. Other plays include Don Juan Comes Home From Iraq, The Long Christmas Ride Home, The Mineola Twins, The Baltimore Waltz, Hot ‘N’ Throbbing, Desdemona, And Baby Makes Seven, The Oldest Profession, and A Civil War Christmas. In 2004-05, she was the playwright in residence at New York’s Signature Theatre. TCG has published four books of her work: "The Mammary Plays," "The Baltimore Waltz and Other Plays," "The Long Christmas Ride Home," and "A Civil War Christmas." Most recent awards include the Theatre Hall of Fame, Lifetime Achievement Award from the Dramatists Guild, and the 2015 Thornton Wilder Award. She is honored to have two awards to emerging playwrights named after her: the Paula Vogel Award, created by the American College Theatre Festival in 2003, and the Paula Vogel Playwriting Award, given annually by the Vineyard Theatre since 2007. Ms. Vogel won the 2004 Award for Literature from the American Academy of Arts and Letters, the Obie for Best Play in 1992, the Rhode Island Pell Award in the Arts, the Hull-Warriner Award, The Laura Pels Award, the Pew Charitable Trust Senior Award, a Guggenheim, an AT&T New Plays Award, the Fund for New American Plays, the Rockefeller Foundation’s Bellagio Center Fellowship, several National Endowment for the Arts Fellowships, the McKnight Fellowship, and the Bunting Fellowship from Radcliffe College. She is a fellow of the American Academy of Arts and Sciences. She was recently awarded a Thirtini from 13P in New York. She has been a fellow at the MacDowell Colony, the Double UCross Colony, as well as Yaddo. She has taught for 24 years at Brown University and for five years at Yale School of Drama where she was the Eugene O’Neill Professor of Playwriting. She is honored by Philadelphia Young Playwrights and Quiara Hudes, who is curating the Paula Vogel Mentors Project.
Director / Co-Creator
Select Off-Broadway: How To Transcend A Happy Marriage and The Oldest Boy by Sarah Ruhl (LCT); Luck of the Irish by Kirsten Greenidge (LCT3); Familiar by Danai Gurira, Stage Kiss by Sarah Ruhl, Milk Like Sugar by Kirsten Greenidge (Playwrights Horizons); Orlando by Sarah Ruhl (CSC); Orpheus (NYCO); Dark Sisters (MTG/Gotham); Menopausal Gentleman (The Ohio). Regional includes productions at Yale Rep, La Jolla Playhouse, Shakespeare Theatre Company, The Old Globe, ART, Oregon Shakespeare Festival, McCarter, Woolly Mammoth. Rebecca is a Henry Crown Fellow at The Aspen Institute, and a graduate of the Yale School of Drama. tre Company), the world premieres of Familiar by Danai Gurira and David Adjmi’s The Evildoers and Marie Antoinette at Yale Rep. She received her MFA from Yale School of Drama.
David Dorfman and David Dorfman Dance have toured the world since 1987, most recently to Greece – and Armenia, Turkey and Tajikistan via DanceMotion USA/US State Department/Brooklyn Academy of Music, where DDD has appeared in the Next Wave Festival. David has received NEA’s, a Guggenheim, a “Bessie” and a “Barrymore” (Green Violin, Rebecca Taichman). He is honored to work with Rebecca again and with Paula Vogel and this incredible cast. Look for DDD’s Aroundtown in 2017.
Scenic Design
Vineyard, La Jolla Playhouse and Yale Rep productions of Indecent. Broadway: The Gin Game; The Gershwins’ Porgy and Bess; The People in the Picture; Caroline, or Change (also Royal National Theater, London); Elaine Stritch: At Liberty (also National Tour, Old Vic London); Topdog/Underdog (Royal Court); Bells Are Ringing; Parade (directed by Hal Prince; Tony and Drama Desk nominations); Bring in ‘da Noise, Bring in ‘da Funk (also National Tour, Japan) and The Tempest. Recent: Grounded directed by Julie Taymor, The Library directed by Steven Soderbergh (The Public); La Mouette (Cour d’Honneur, Palais des Papes, Avignon Festival); Abigail’s Party (Oslo National Theatre); The Dead (The Abbey Theatre); King Lear (TFANA). He has designed over 200 productions in the U.S. and internationally. Faculty: SUNY Purchase.
Costume Design
Broadway: Dear Evan HansenOh, Hello On BroadwayIf/ThenVanya and Sonia and Masha and SpikeBloody Bloody Andrew Jackson. Off-Broadway, she has designed multiple productions for Playwrights Horizons, Second Stage, The Public, Lincoln Center, The Roundabout, MTC, Atlantic Theater Company, MCC and more. Regionally, her work has been seen at La Jolla Playhouse, Opera Theatre of Saint Louis, The Old Globe, Williamstown Theater Festival, Shakespeare Theater DC, The Goodman, CTG, Long Wharf, and Santa Fe Opera. Upcoming: Lucia Di Lammermoor (Santa Fe Opera). 
Lighting Design
Broadway: The Last Ship, Rocky (Tony nomination), Superior Donuts, 110 in the Shade (Tony nomination), Well, Awake and Sing! (Tony nomination), The Light in the Piazza (Tony, Drama Desk, Outer Critics’ Awards), and Seven Guitars (Tony nomination) among others. Martha Clarke’s Angel Reapers, Kaos, Garden of Earthly Delights (revival), and Belle Epoche. Other NY: Atlantic, Manhattan Theater Club, NYTW, Public, and Roundabout. Recent Opera: St Louis, Santa Fe, Washington National, Wexford.
Sound Design
Credits: The Royale (Lincoln Center Theater, Old Globe); Indecent (La Jolla Playhouse, Yale Rep, Vineyard); Natasha, Pierre and the Great Comet of 1812 (ART, Ars Nova, Kazino); Time and the Conways (Old Globe); Stage Kiss, 100 Saints You Should Know (Playwrights Horizons); Marie Antoinette (ART, Yale Rep, SoHo Rep); Three Pianos (NYTW, ART); The Human Scale (The Public); Telephone (Foundry Theatre); How We Got On, Death Tax, A Devil at Noon (Humana Festival); Hammock and Blueprints of Relentless Nature (Liz Lerman Dance Exchange). As a company member of The TEAM, Matt has designed Roosevelvis, The Holler Sessions, Waiting for You on the Corner Of…, Mission Drift, Architecting, Particularly in the Heartland, and A Thousand Natural Shocks. B.A. in Philosophy from Xavier University.
Projection Design
Broadway: The Crucible, Sunday in the Park with George. Off-Broadway: Lazarus, Indecent, King Lear, Distracted, The Little Foxes, Liberty City, Kaos, Beast, The Misanthrope, Lush Valley, Sounding, Futura, Corpus Exquisitus, A Dog and Pony Show. Regional: Indecent, Swimming in March, Pop! International: Hamlet, Kings of War, Antigone, The Damned, The Fountainhead, Cries and Whispers, Antonioni Project, Mourning Becomes Electra, Angels in America, Husbands, Roman Tragedies. Opera: Exterminating Angel, Between Worlds, Mazeppa, Idomeneo, Brokeback Mountain, Macbeth.
Co-Composer / Co-Music Director
Lisa Gutkin is the Grammy Award-winning violinist, singer and songwriter of the Klezmatics. She played in Sting’s The Last Ship, had a cameo appearance in “Sex and the City,” and is a MacDowell Fellow. Lisa appears on hundreds of recordings including From Here On In, a CD of her original songs produced by John Lissauer, and Play Klezmer Fiddle!, an instructional DVD. She has co-authored songs with Woody Guthrie, Anne Sexton, and Maggie Dubris, and composed for symphony orchestra, dance, and film.

Aaron Halva is honored to make his Broadway debut strapped to an accordion. Off-Broadway/Regional: Servant of Two Masters (Theatre For a New Audience, Yale Rep, Guthrie, ArtsEmerson, STC, Seattle Rep), A Doctor In Spite of Himself (Intiman Theatre, Berkeley Rep), The Moliere Impromptu (Trinity Rep). TV/Film: “Wall Street II”. 2016 Connecticut Critic’s Circle Award for Musical Direction and Composition. Aaron directed the Latin music group nu guajiro playing tres (Cuban guitar) for over two decades.
Music Coordinator
Over 100 Broadway shows. Recent: Hello, Dolly!; Miss Saigon; Charlie and the Chocolate Factory; ...The Great Comet of 1812; A Bronx Tale; Holiday Inn; Waitress; Something Rotten!; Les Misérables; Beautiful; Jersey Boys. Musician (bass): Leonard Cohen, Eric Clapton, Frank Sinatra, Carly Simon, Michael Jackson, BB King, Bette Midler. His album Stage Door Johnny-John Miller: Takes on Broadway is available on PS Classics.
Fight Director
He and his son, Christian Kelly-Sordelet are creators of Sordelet Inc, a combat company bringing over 30 years of action movement to the New York City theatrical community. Sordelet INC has 68 Broadway credits including Beauty and the Beast, The Lion King, Eclipsed, and Bright Star. They have 65 first-class production credits in hundreds of cities on five continents including Ben Hur Live (Rome, European Tour) and four international and national tours currently running. Recent: The New York Spectacular for Radio City Music Hall and three operas for Santa Fe Opera. They are stunt coordinators on over 1,000 episodes of television and for numerous feature films. Rick is a board member of The Shakespeare Theatre of New Jersey and author of the play Buried Treasure. He is also the author of the upcoming film 20,000 Leagues Under The Sea produced by Fox and directed by Bryan Singer.
Dialect Coach
Selected Broadway/Off-Broadway: Present Laughter; The Price; Man From Nebraska; The Dead; Heisenberg; Love, Love, Love; Shining City; Incognito; Long Day's Journey Into Night; Hold on to Me Darling; Hedwig and the Angry Inch; Outside Mullingar; The Winslow Boy; Once; Beautiful; Jersey Boys; Tribes; The 39 Steps; The Lieutenant of Inishmore. Selected films/TV: Spotlight, "Bull," "The Americans," Across the Universe, Bernard and Doris.
Technical Supervisor
Patrick Shea and Chris Smith (Smitty) together on Indecent, Roman Holiday, Kinky Boots NY/National Tour/Korea/Toronto/Japan/Australia, Holler If Ya Hear Me, Chaplin, Elf, August: Osage County NY & Tour, Brooklyn. Previously, Smitty also did Wonderland, Legally Blonde Tour, Dirty Rotten Scoundrels, Evita, Catch Me If You Can, A Behanding in Spokane, Tale of Two Cities, Xanadu Japan, Times They Are A Changin’, Soccer Moms, Cat On A Hot Tin Roof, Legally Blonde NY & Tour, On Golden Pond, Thoroughly Modern Millie, AIDA, Imaginary Friends, Def Poetry Jam, Disney’s Berlin Hunchback of Notre Dame, The Capeman, Show Boat, Kiss of the Spider Woman.
Production Stage Manager
Broadway: Jitney, All the Way, A Time to Kill, Who’s Afraid of Virginia Woolf?, Clybourne Park, The Pee-Wee Herman Show, How the Grinch Stole Christmas, Elaine Stritch At Liberty, Stones in His Pockets, Bells Are Ringing, The Capeman. 18 productions at the Public Theatre, 14 productions of Shakespeare in the Park, also numerous Off-Broadway, regional and international productions.
Select Broadway: Cats, Sunset Boulevard, School of Rock, Dear Evan Hansen, A Bronx Tale, Bandstand, Dr. Zhivago, It Shoulda Been You, Gigi, Bullets Over Broadway, Aladdin, Les Misérables, How to Succeed..., A Little Night Music, Billy Elliot, Shrek, Guys and Dolls, Young Frankenstein, The Little Mermaid, Mary Poppins, Spamalot, …Spelling Bee, The Producers, Mamma Mia!, Jersey Boys, The Phantom of the Opera. Off-Broadway: Here Lies Love, Old Jews Telling Jokes, Love, Loss, and What I Wore. Regional: Sundance Theatre Lab, Yale Repertory Theatre, Paper Mill Playhouse, The Old Globe.
Daryl Roth holds the singular distinction of producing seven Pulitzer Prize-winning plays: Anna in the Tropics; August: Osage County (2008 Tony); Clybourne Park (2012 Tony); How I Learned to Drive; Proof (2001 Tony); Edward Albee’s Three Tall Women; and Wit. The proud recipient of ten Tony Awards and London’s Olivier Award, her over 100 award-winning productions include: Kinky Boots (2013 Tony, 2016 Olivier); Absolute Brightness; Buyer & Cellar; Caroline, or Change; Curtains; A Delicate Balance; The Front Page; Edward Albee’s The Goat or Who is Sylvia (2002 Tony); The Humans (2016 Tony); It Shoulda Been You; Love, Loss, and What I Wore; The Normal Heart (2011 Tony); Shuffle Along; The Tale of the Allergist’s Wife;  (2016 Tony);  War Horse (2011 Tony); Wiesenthal; and The Year of Magical Thinking. Spring 2017: Groundhog Day; Hello, Dolly!; Indecent; Present Laughter; and Sunset Boulevard. Love to Steven, my wonderful family, Louie, Lucy & Leo ever in my heart.
Broadway productions include Well, Who’s Afraid of Virginia Woolf?, The Goat, Copenhagen, A View from the Bridge, Dracula, Elephant Man, Morning’s at Seven, Mass Appeal, Amadeus, Home, Piaf, Rose, Leader of the Pack, Stepping Out, Orpheus Descending. With Royal Shakespeare Company: A Midsummer Night’s Dream, The Life and Adventures of Nicholas Nickleby, All’s Well That Ends Well and Cyrano de Bergerac, Much Ado About Nothing, Good, Les Liaisons Dangereuses, Sherlock Holmes, London Assurance. With James M. Nederlander: My Fat Friend, Otherwise Engaged, Habeas Corpus, The Dresser. Off-Broadway: Beckett/Albee, The Play About the Baby, Three Tall Women. West End: Three Tall Women, Who's Afraid of Virginia Woolf?, A Delicate Balance, The Unexpected Man and The Three Sisters.
Cody Lassen is a Tony-nominated producer and live entertainment consultant, most recently represented on Broadway by Significant Other, Spring Awakening, and Macbeth. Upcoming productions include Untitled #4 and The Australian Theatre Company’s Holding the Man. In addition to producing his own projects, Cody consults for producers, theatres and agencies to help them discover how they should market their shows for the best chance of financial and critical success. He serves on the board of NY’s Vineyard Theatre and previously oversaw marketing efforts for Los Angeles’ Center Theatre Group and its three theatres: the Ahmanson Theatre, Mark Taper Forum and Kirk Douglas Theatre. More at


Sholem Asch reads his new play, Got fun Nekome  (God of Vengeance ), for the founding father of modern Yiddish literature, I. L.Peretz. Disturbed by what he takes to be the play’s misrepresentation of Jewish piety, Peretz counsels Asch to “burn it.” Got fun Nekome  opens in St. Petersburg and Moscow, where it is celebrated, and then in New York where the left-wing newspapers defend its gritty sophistication, while the Orthodox papers decry it for fanning anti-Semitic stereotypes.
With the outbreak of World War I, Sholem Asch leaves Europe for New York. After the war, he visits Europe and is shaken by the destruction of Jewish communities.
The Emergency Quota Act severely reduces the number of immigrants permitted into the U.S. from eastern and southern Europe.
A movement to prevent lewdness on the stage gathers force against popular farces on Broadway.
Isaac Goldberg’s English translation of God of Vengeance  opens at the Provincetown Playhouse in New York City, before moving to the larger Greenwich Village Theatre.
February 19 God of Vengeance  opens on Broadway at the Apollo Theater. The passionate scene in the rain is cut from this production, changing the women’s relationship from one of love to manipulation.

March 6 Mid-performance, a police detective informs the cast and producer that they are under indictment for obscenity. The next morning, the company posts bail and returns to the theater in time for the matinee.

May 23 The company of God of Vengeance  goes on trial and is found guilty. The verdict is overturned on appeal.
The National Origins Act restricts immigration even further; the Asian Exclusion Act lives up to its name. The Society for Human Rights is founded as the first organization in the U.S. that seeks equality for homosexuals. Police pressure soon shuts it down.
New York State passes the Wales Padlock Law, prohibiting plays “dealing with the subject of sex degeneracy or perversion.” This law, not declared unconstitutional until 1976, leaves LGBTQ characters to be portrayed as symbols of vice, corruption and evil.
Early 1940s
Got fun Nekome  is performed in the Łodz Ghetto where an estimated 160,000 Jews are sealed off from the world.
Nazi officials discuss the “Final Solution of the Jewish Question” and industrial genocide begins. In response, Sholem Asch forbids future performances of Got fun Nekome .
Sholem Asch is the first Yiddish writer to be nominated for the Nobel Prize.
Playwright Paula Vogel, then a 22-year-old graduate student at Cornell University, reads God of Vengeance  at the suggestion of her professor.
While a first-year student at the Yale School of Drama, Director Rebecca Taichman discovers God of Vengeance  and writes her thesis on the obscenity trial.
Rebecca Taichman calls Paula Vogel to collaborate on a play about that obscenity trial which would later become Indecent .
Indecent  receives a developmental production at the Sundance Institute’s Theatre Lab.
The world premiere of Indecent  is staged at Yale Repertory Theatre, followed by a production at the La Jolla Playhouse. Indecent  opens Off-Broadway at the Vineyard Theatre.
Indecent  opens at the Cort Theatre on Broadway, 94 years after the Broadway premiere of God of Vengeance .
Updated March 21, 2017 4:01 PM
By Linda Winer

It has been 94 years since an internationally celebrated Yiddish drama called “The God of Vengeance” opened on Broadway in an English translation and was instantly shut down by the vice squad as obscene.

And it has been 19 years since Paula Vogel received her Pulitzer Prize for “How I Learned to Drive,” but she has never had one of her smart, blazingly original, moving plays on Broadway.

Which of those injustices should upset us more? How great that we don’t have to choose.

You see, when “Indecent” opens next month at the Cort Theatre, this will not only mark the Broadway debut of an important playwright who has been off New York’s radar screen for far too long. The premiere also returns the story behind “God of Vengeance” to the city of its 1923 scandal and disappearance from theater history.

Vogel’s “Indecent,” a transfer from last spring’s attention-getting Off-Broadway premiere at the Vineyard Theatre, is a play-about-a-play about “God of Vengeance,” the incendiary drama that Sholem Asch wrote in Poland in 1906. Not only did Asch dare to write about a Jew who runs a brothel in the basement while trying to keep his daughter, his wife and his Torah pure upstairs. But the daughter falls in love with one of the older prostitutes. The women even kiss.

So we have a gripping back story and we have a lost treasure of both lesbian and Yiddish culture. And there’s music — klezmer, of course — and dancing. And there are seven extraordinary actors portraying many different people — sometimes in Yiddish with English subtitles — from 1906 Warsaw to America in the ’50s, from Nazis to assimilated Americans, not to mention the characters in scenes from the play itself.

In fact, Vogel’s journey with this unusual work — and for director/co-conceiver Rebecca Taichman — might justify its own drama, “The Making of a Play-about-a-Play.”

“I was 22 and at Cornell when I read ‘The God of Vengeance,’ ” Vogel, 65, reminisces during a recent phone call before rehearsals. “I read it turning the pages without a break. At the end of the play, I felt like I couldn’t breathe.”

Then 20 years ago, while a graduate student at Yale, Taichman had what Vogel marvels was “the identical experience. She read it and felt she couldn’t breathe.”

When Vogel heard that Taichman was trying to stage her dissertation on the play’s obscenity trial, she says, “I thought, ‘She is so obsessed. I could do work with her.’ ”

Flash forward 16 years. “I get a call from Rebecca, pitching a play about the ‘God of Vengeance.’ She realized it couldn’t just be the text. To be interesting, it needed to be a play about the play.”

Vogel says they went over “stacks and stacks” of research, “diving into this treasure trove. I actually wrote 42 drafts.” There were preliminary productions in New Haven, at Sundance and La Jolla — all with the same company that opens April 18 on Broadway. “We created our play the way Yiddish theaters created their pieces, performing together over years,” she says, adding that two children have been born while the work was aborning. “When we say we’re a family,” she says with a smile, “we really mean it.”

They landed at the Vineyard, where “How I Learned to Drive” began. Douglas Aibel, artistic director of the theater, says Vogel “has brought such passion, fire, wit and imagination to our company and audiences. She is a life force.”

Yes, but where has this life force been? An astonishing number of accomplished young playwrights might find that question absurd. For 24 years, Vogel ran the playwriting department at Brown University, then did the same at Yale for five years — where some members of the current cast were acting students. In a TV interview in 2002, she told me “I love playwrights as much as I love playwriting.”

The beneficiaries of that divided fascination include such students as the 2009 Pulitzer winner Lynn Nottage (“Ruined”), whose first Broadway play, “Sweat,” opens March 26, and Sarah Ruhl, two-time Pulitzer finalist, whose “How to Transcend a Happy Marriage” opened March 20 at the Lincoln Center Theater. Steven Levenson, who wrote the book for the hit musical “Dear Evan Hansen,” was one of her undergrads. The list seems to be endless.

For years, Vogel has also run what she thinks of as a “playwriting boot camp” around the country — community workshops for, as she puts it, “people who live in neighborhoods where they never read a play.” After her adored brother Carl died of AIDS, she not only fantasized a trip to Europe together in the 1992 Obie-winning “The Baltimore Waltz,” but she addressed some of the grief by starting a prison playwriting program for women in maximum security.

But here she is, back in New York — on Broadway, in fact, though she has concerns about the dominance of the commercial theater over the nonprofits. “The free-market economy has never been a model for the arts,” she says provocatively, “If it were, all of us would have our hats off and be standing in the street catching pennies.”

She is not alone in thinking that “How I Learned to Drive,” about, for starters, consensual incest and pedophilia, did not get to Broadway because it was written by a woman. For years, that has also been the conventional wisdom of why Nottage’s acclaimed “Ruined,” about the sexual tyranny against women in the civil war in the Democratic Republic of Congo, never transferred from Off-Broadway.

More doors are opening for women playwrights, as evidenced by the introduction of these two major artists to Broadway. But she asks, without needing an answer, “Is that enough?”

Meanwhile, she and Anne Fausto-Sterling, the scientist to whom she has been married since 2004, live with their two corgis in Wellfleet, Massachusetts, where they are licensed to fish for oysters, which they eat on their deck. And for now, she is thrilled to be on Broadway and in awe of the “courageous” producers who are betting on an “ensemble piece with no big names. You’ve got to love them.”

The feeling is mutual. Daryl Roth, who also produced “How I Learned to Drive,” believes that the “wave of anti-Semitism, anti-immigration and the suppression of freedom of speech” makes this “sadly relevant. I think that the play is about a passion that people have for theater, the freedom to love who you please to love and the freedom to tell your story.”

Elizabeth McCann, “Indecent” co-producer and longtime producer of Edward Albee plays, adds, “Not long after Edward died, I saw this. I think it is something Edward would want me to do. I think he would have liked the play.”

When in high school in suburban Maryland, Vogel used to forge her mother’s name to read lesbian books in the Library of Congress. “There were all these pulp novels,” she remembers. “They all ended with the woman deciding to marry a man, committing suicide or living a lonely life. . . . The lesbian love in ‘God of Vengeance’ is the purest thing in the play.”

Oh, and make that Dr. Vogel now. “Can you believe it?,” she says with a laugh when asked about the Ph.D. she got last spring from Cornell. Her thesis was on “Indecent,” including its place in Yiddish, gay and lesbian theater. Her dissertation chair is coming to opening night.

Broadway: Once, Spider-Man: Turn Off the Dark, The Miracle Worker. Off-Broadway/Regional includes: Indecent (Vineyard Theatre, Yale, La Jolla Rep), The Band's Visit (Atlantic Theater), iWitness (Mark Taper Forum), Lost Land (Steppenwolf Theater), Caucasian Chalk Circle (South Coast Rep), Camille (Bard Summerscape), Lovelace: A Rock Opera (The Hayworth/Edinburgh). Film/TV includes: Look Away, Evol, Crime Fiction, “Elementary,” “The Get Down,” “The Blacklist.” Co-creator of the web series “Miss Teri," and ringleader of her band moxy phinx.

Vineyard, Yale Rep and La Jolla productions of Indecent. Broadway: Act One (Lincoln Center Theater), Brooklyn Boy, I’m Not Rappaport (revival). Off-Broadway: Distracted (Roundabout). Regional: Two Things You Don’t Talk About at Dinner (Denver Center Theatre); Persephone, The Sisters Rosensweig (Huntington Theatre); We Won’t Pay! We Won’t Pay! (Long Wharf); Taking Sides, The Greeks Love Council, Five Women Wearing the Same Dress (Odyssey); Leon & Lena (and Lenz) (Guthrie Theater); Figaro Gets a Divorce (La Jolla Playhouse); Much Ado About Nothing, Othello (L.A. Shakespeare  Festival). National tour: The Heidi Chronicles. Film/TV: The Thing About My Folks, Arranged, Cold Souls, Permanent Midnight, Bulworth, Corrina, Corrina, Wilder Napalm, Just Another Story, “The Sopranos,” “Law & Order,” “Medium,” “Friends,” “The Practice,” “Seinfeld,” “ER,” “The X-Files,” “NYPD Blue.”

Broadway: Relatively Speaking. Off-Broadway: Indecent (Vineyard). Recent: The Master Builder with John Tuturro (BAM); Arcadia, The Caucasian Chalk Circle (Yale Rep); Time and the Conways (Old Globe); Constellations (Seattle Rep); Man and Superman, It’s a Wonderful Life (Irish Rep); Tragedy: A Tragedy (Berkeley Rep); The Seagull (Cleveland Playhouse); Richard III, The Merchant of Venice (California Shakespeare Theater); Pleasure and Pain (Magic Theatre); Private Jokes, Public Places (Aurora Theatre). Film/TV: Gods Behaving Badly, The Terrors of Basket-Weaving, “Madam Secretary,” “The Good Wife.” MFA, Yale School of Drama, Hershel Williams Prize in Acting.

TOM NELIS  (Older Asch)
Broadway: The Visit, Enron, The Caine Mutiny Court Martial, AIDA. Off-Broadway: The Pearl Theater, The Public Theater, New York Theater Workshop, Playwrights Horizons, The Signature Theater, Classic Stage Company, Theater for a New Audience, Manhattan Theater Club, BAM, En Garde Arts. Mr. Nellis is a founding member of SITI Company, now in its 25th year. Awards: Elliot Norton Award, OBIE, San Diego Critics Ensemble Award, Drama League Nomination, Barrymore Nomination. MFA, UC San Diego.

Broadway Debut. Off-Broadway: Indecent (Vineyard); Henry V with Liev Schrieber (Public Theater); Galileo with F. Murray Abraham; The Tempest with Mandy Patinkin, (CSC); Stunning (Lincoln Center); Dinner Party (Target Margin); Painted Snake on a Painted Chair (OBIE); McGurk (ERS); Richard Foreman’s Samuel’s Major Problems (Ontological). Regional: Indecent (Yale Rep/La Jolla Playhouse); Marie Antoinette (ART/Yale Rep); The School for Wives (Two River Theater); The Lovesong of J. Robert Oppenheimer (Cincinnati Playhouse). Film: The Family. TV: “Venture Brothers.”

Broadway: Larry David’s Fish in the Dark, The Merchant of Venice with Al Pacino, Tony-winning revivals Awake & Sing! and The Normal Heart, Julius Caesar with Denzel Washington, Cymbeline, The Country Girl, School for Scandal. Off-Broadway: Bronx Bombers, Opus (Primary Stages), When the Rain Stops Falling (LCT), Regrets (MTC), Lear, Twelfth Night, Winter's Tale (Public), and new plays at Playwrights Horizons, New Group, EST, Soho Rep, Vineyard among others. Film/TV: Lincoln, Indignation, Party Girl, recurring on “Billions,” “Perception,” “Covert Affairs,” and “The Practice,” and upcoming as Fritz Haber opposite Geoffrey Rush in producer Ron Howard’s “Genius: Einstein” on Nat Geo Channel.


Broadway Debut. Previous credits include Indecent (Vineyard, La Jolla, Yale Rep), The Servant of Two Masters (TFANA, Seattle Rep, Guthrie, ArtsEmerson), As You Like It (Shakespeare Theatre Company, DC), The Winter's Tale (Yale Rep), 4000 Miles (Cincinnati Playhouse), peerless (Barrington Stage), and Machine Makes Man (OldSoundRoom), which she co-created with Michael McQuilken. TV: "Mozart in the Jungle," "The Strain." Founding company member of OldSoundRoom Performance Ensemble. BFA, The Boston Conservatory. MFA, Yale School of Drama. For Mama.

BEN CHERRY  (Understudy)
Broadway: Fiddler on the Roof. National tour: Mary Poppins. Regional: Milwaukee Rep, Cincinnati Playhouse, Utah Shakes, Delaware Theatre Co, Arden. Founding member of NYC’s Sonnet Rep. TV: “Smash,” “The Following.” MAC Award winner, Best Debut. Training: University of Michigan, North Carolina School of the Arts. XO: KC, JC, and WA.

ANDREA GOSS  (Understudy)
Broadway: CabaretOnceRent. National Tour: Cabaret (Sally).  Regional: Striking 12 (TUTS), A Civil War Christmas (Baltimore Center Stage), Zorro (Alliance Theatre), A Christmas Carol (McCarter Theatre), Venice (CTG/Kansas City Repertory), Tarzan (North Shore Theatre), High School Musical (St. Louis MUNY), The Sound of Music and Big River (Syracuse Stage).  Readings/Workshops: ZapataK-PopCasanova ReturnsFreckle-Face Strawberry. Film: Rent: Filmed Live on Broadway. Thanks and love to my family and CGF. 

ELEANOR REISSA  (Understudy)
Director/Playwright/Actor/Singer. Broadway: Those Were The Days (Tony nominee). Off-Broadway: God of VengeanceCowgirls; five shows Mint Theater. Published playwright: The Last Survivor and Other Modern Jewish Plays. Librettist: Yiddish opera, Taibele and Her Demon (I.B. Singer), music by Judd Greenstein. Concert artist: Eleanor Reissa Trio; Frank London & Klezmer Brass Allstars.

Matt Darriau is very happy to be making his “proper” Broadway debut in the socially relevant Indecent. Darriau is a longtime member in the Grammy-winning Klezmatics, his Balkan rhythm quartet Paradox Trio and avant swing band Balling The Jack. His stage credits include a world tour in Robert Wilson and David Byrne’s The Knee plays, Tony Kushner’s adaptation of A Dybbuk (Public Theater), Riverdance on Broadway and a bizarre show with Allen Ginsberg in Berlin. He has received music commissions from the NEA (RIP), Chamber Music America, NYSCA and Victoria Marks among others.

LISA GUTKIN (Musician)
Lisa Gutkin is the Grammy Award-winning violinist, singer and songwriter of the Klezmatics. She played in Sting’s The Last Ship, had a cameo appearance in “Sex and the City,” and is a MacDowell Fellow. Lisa appears on hundreds of recordings including From Here On In, a CD of her original songs produced by John Lissauer, and Play Klezmer Fiddle!, an instructional DVD. She has co-authored songs with Woody Guthrie, Anne Sexton, and Maggie Dubris, and composed for symphony orchestra, dance, and film.

AARON HALVA (Musician)
Aaron Halva is honored to make his Broadway debut strapped to an accordion. Off-Broadway/regional: Servant of Two Masters (Theatre For a New Audience, Yale Rep, Guthrie, ArtsEmerson, STC, Seattle Rep), A Doctor In Spite of Himself (Intiman Theatre, Berkeley Rep), The Moliere Impromptu (Trinity Rep). TV/Film: “Wall Street II.” 2016 Connecticut Critic’s Circle Award for Musical Direction and Composition. Aaron directed the Latin music group nu guajiro playing tres (Cuban guitar) for over two decades.

ZOË AQUA (Musician)
Zoë Aqua is quickly becoming an in-demand player in the international klezmer scene. She is a co-founder of Tsibele, performs with klezmer bands Litvakus, Fraydele and Ternovka, and is an avid educator. Aqua is comfortable playing in a variety of styles and can be seen with bands from the French-reggae group Blue Dahlia to Calpulli Mexican Dance Company. She composed and performed original music for "Song and Dance You," a dance piece about minstrelsy and Black Lives Matter, in collaboration with award-winning choreographer Joya Powell. A selection from the piece was performed at the 2016 Bessie Awards.

URI SHARLIN (Musician)
Uri Sharlin an Israeli-born accordionist, pianist and composer who has collaborated with prominent musicians including Natalie Merchant, Antony and the Johnsons, Avi Avital, and Frank London. Sharlin was featured as a pianist and composer in the acclaimed HBO series "Flight of the Concords." The multi-instrumentalist feels at home across genres, and his several albums to date fuse his jazz and classical background with Balkan rhythms, Arabic modes and Brazilian harmonies. Sharlin is a Co-Founder of Play Me a Story, a musical storytelling performance program for children, and he leads the Cardamon Quartet, the Avi Avital Trio, and the DogCat Ensemble in New York City.

Doug Wieselman has worked with a variety of artists in many fields including choreographers Jerome Robbins and Paul Taylor, directors Robert Woodruff, Robert Wilson and playwright Athol Fugard. He was associated with The Flying Karamazov Brothers as composer and collaborator for many years - including productions at Chicago’s Goodman Theater, BAM and Lincoln Center. He has worked with Laurie Anderson, Antony and the Johnsons, Lou Reed, John Lurie, Martha Wainwright, Hal Willner, Cibo Mato, Bill Frisell, and Yoko Ono among many others. In recent years he has worked as arranger for the art/band CocoRosie including the Berliner Ensemble’s production of Peter Pan, and Moscow’s Theater of Nations production of Pushkin’s Fairy Tales, both directed by Robert Wilson. He was one of the two composers for the Nickelodeon cartoon show “The Backyardigans,” in association with Evan Lurie. This past December he was music director for the Wainwright Family’s Christmas Show “Nashville Noel Nights” at Nashville’s Ryman Auditorium. He has recently released a solo clarinet album, “From Water”, inspired by water melodies, and is currently preparing a new release of music by his band - Trio S - with ‘cellist Jane Scarpantoni and drummer Kenny Wollesen.

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