45 pages • 1 hour read
Content Warning: This section contains discussion of antisemitism, anti-gay bias, and the Holocaust.
All of the major characters in Indecent are Jewish, and many of them speak Yiddish as their native language. When any character speaks their native language, they speak fluently, but otherwise, they have a noticeable accent and sometimes make grammatical errors. Most of the play is performed in English, though there are a few lines and short scenes in Yiddish (and Nakhmen says some lines in French, Spanish, and Chinese). When Sholem Asch is a young man, writing in Yiddish allows him to connect with Jewish people and make meaningful art about his culture, even if his writing is considered controversial. Yiddish is not universally celebrated in Europe, even when Sholem is young: Freida makes derisive comments about Yiddish and about Jewish people, foreshadowing the further challenges that the characters face when they get to America.
In New York City, there is a big enough Jewish audience to stage The God of Vengeance in Yiddish, but Yiddish theater is not prestigious. To create a prestigious play in America, it is essential to perform it in English so it has a chance to make it to Broadway. Language and Jewish identity are both connected to the pressure to assimilate. Prestigious theater is necessarily assimilationist, moving away from Sholem’s initial radical roots. Actors in the English-language production must speak relatively unaccented English, which means that some Jewish actors (like Reina) are pushed out of the production to make the show more palatable to non-Jewish Americans. Actors in the Broadway production have to go even further, eschewing any scene that portrays lesbianism in a positive light.
Speaking Yiddish is a matter of identity and culture, but it comes with consequences in America. Sholem is a masterful writer in Yiddish, but he cannot speak English. That means that he cannot communicate directly with his doctor, and he cannot defend his work in court without risking being mistranslated or made fun of. The scope of his influence as a writer is necessarily limited by the fact that English is not his first language. Sholem unkindly says that people will always make fun of how Lemml speaks, despite his best efforts to learn English. Although Yiddish is less universal than English, it is very important in both Indecent and The God of Vengeance. In the final scene of Indecent, Rifkele and Manke perform the rain scene in Yiddish. This is an important moment that indicates that despite all the repression that Jewish communities and Yiddish speakers have faced, Yiddish is still a living language that is connected to Jewish identity and culture in many parts of the world. There are around 600,000 Yiddish speakers as of 2024. The language is considered vulnerable, but it has never entirely disappeared.
At the heart of Indecent is a debate about the role of art. Several characters express concerns about The God of Vengeance because of how it portrays Jewish characters, especially Yekel. Yekel is a brothel owner who treats the Torah as a status symbol and a tool to be discarded when it is no longer useful. According to Peretz and Nakhmen, Sholem’s choice to portray Yekel this way is not just an artistic decision that serves a larger story. It is a dangerous portrayal that has the power to bolster antisemitism and endanger Jewish people by playing into negative stereotypes. In their view, Jewish people have a collective responsibility to keep their communities safe. That means that artists and writers should portray Jewish characters in a solely positive light. By writing complex, flawed characters, Sholem has failed in this regard.
Sholem disagrees about his responsibilities as a writer. He wants to create good art and tell a compelling story, which means that he needs to write nuanced characters. As Sholem points out, real Jewish people are not always paragons of virtue; they are human. He wants to write about all parts of the Jewish community, and that means writing about “Our streets. Our gutters. Our desire” (31). It is true that some people will not like the play, but that is true of all art. Those who persecute Jewish people are responsible for antisemitism; Jewish people writing about their own communities are not. It can be tempting for members of all kinds of marginalized communities to try to assimilate to a dominant culture to keep themselves safe. While this can work for some people some of the time, Indecent demonstrates that assimilation cannot guarantee safety. The actors still get arrested after they cut the more controversial scenes from the play; they may as well have performed the original script. Attempting to be palatable can mean failing to be true to oneself, to one’s community, or to good art.
The God of Vengeance is actually controversial on two fronts. Some people object to its portrayal of Jewish characters, while others object to its celebration of lesbianism. The two forces of oppression, anti-gay bias and antisemitism, are intertwined. To deal with antisemitic hate mail, Harry Weinberger chooses to cut some of the more romantic scenes between Rifkele and Manke, which might seem counterintuitive. However, bringing some elements of the play back toward the mainstream makes it easier to retain the play’s discussion of Jewish identity. Ultimately, the cuts to the script reinforce the cultural idea that predatory sex between women is acceptable on stage because it portrays queerness as a moral failing, but love and care between women is scandalous and indecent.
The love story between Rifkele and Manke is central to The God of Vengeance, and it was also the first impetus for Paula Vogel to start working on Indecent. The love between the two women is a symbol of hope for a better future in which everyone can be free of oppression and able to love without fear. When Asch was writing, his portrayal of Rifkele and Manke was genuinely radical, and the romantic scenes between the two women are still compelling and moving for modern audiences. Over and over, characters in the play describe how important the lesbian relationship in The God of Vengeance is for them. Eugene O’Neill calls the two women a “beacon” in a “deep, deep fog of human depravity” (68). Lemml likens the love story to the paradise that might exist after the arrival of the Messiah, according to Jewish theology. Lemml also says that everyone in the cast watches the romantic rain scene from the wings every night because it is so powerful.
As Sholem gets older and witnesses the horrors of 20th-century antisemitism, including pogroms and the Holocaust, he starts to wonder whether The God of Vengeance is still meaningful. He ultimately concludes that it is not, and he completely loses interest in the project of radical theater. John Rosen, the man who wants to stage The God of Vengeance in the 1950s, insists that Sholem is wrong. The play asks “urgent moral questions” and deserves to be seen (89). The God of Vengeance really was ahead of its time, at least in America. It featured the first kiss between two women on Broadway, but even a censored version was considered too radical. After Indecent premiered, there was renewed interest in The God of Vengeance, with one theater company even staging a Yiddish version. The play may have been too radical when Sholem Asch first wrote it, but many people find value in it today.
Lemml’s connection to Rifkele and Manke is deeply personal, as he is implied to be gay. He sees the two characters as presaging not just a better future, but also freedom and survival in the face of unimaginable horrors. When he is about to be killed in the Holocaust, his final wish before dying is that Rifkele and Manke escape and continue their lives. He does not wish for his own survival, but the survival of the characters and the ideas that they represent. The troupe of actors who play all the roles are the ghosts of Lemml’s troupe. Although they were killed, the play and the love story around which it revolves live on. Rifkele and Manke therefore become a symbol of survival and resilience, emphasizing that even the worst horrors cannot destroy hope or love.
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