Staff writer Mary Cook had the pleasure of attending the Columbia University Players’ rendition of the 2015 play Indecent by Paula Vogel.

On Thursday night, I had the privilege of seeing the Columbia University Players’ powerful rendition of Indecent, a play written by Paula Vogel and originally directed by Rebecca Taichman during its Broadway run. Based on the real-life events surrounding the 1923 Broadway production of God of Vengeance by Sholem Asch, Indecent explores the trial and arrest of its producer and cast on charges of obscenity, diving deep into themes of resistance, identity, and the struggles of Jewish communities in America during the 1920s. Director Abigail Fixel (BC ‘26), producer Alice Lin (SEAS ‘27), and music director Elie Hausman (BC/JTS ‘27) seamlessly brought the play to life on the Lerner Black Box stage. 

The evening was an immersive journey through time, culture, and language. From the start, the cast’s performances were nothing short of dynamic and intimate, effortlessly drawing the audience into the world of the play within a play.

The political backdrop of the play, set against the turbulence of 1920s European Jewish history and the struggle for identity within the American context, was potent. This feeling of alienation reverberated throughout the production, as Indecent explored not only the censorship of homosexuality on the stage but the broader experience of being an immigrant and an outsider in a country that often viewed Jewish immigrants with suspicion.

The performances of the eleven member cast brought this complex narrative to life. Playing Sholem Asch, Jamie Treatman-Clark (CC ’27) perfectly embodied the transformation of a hopeful playwright into a man deeply conflicted by his art and the way his people are being treated. His portrayal of Asch’s mental and emotional breakdown resulting from the censorship of his play was heartbreaking and resonant, reminding the audience of the personal toll that censorship and societal rejection can have.

Maya Madajewicz (CC ‘28), playing both the actor and star of God of Vengeance, Rifkele, captured the delicate balance of a woman in uncertainty, showing both the inner resistance and vulnerability of her character’s sexuality. The highlight of the entire show for me was the infamously censored “rain scene”, where Madajewicz and Goldberg are showered with watering cans as they wistfully dance in each other’s arms, well aware of what their future as a couple holds in this religious and political context. 

Clara Goldberg (BC/JTS ‘26) shone as Halina, showcasing both the boldness of her character in her musical numbers and the grief and hesitation she carries with her in the intimate moments. Goldberg’s powerful voice was a highlight of the evening, adding to both the strength and resignation of her character. 

The live pit band, consisting of Reza Shayesteh (CC ‘28), Liliana Quiroga (BC ‘28), Lonnie Miller (BC ‘25), and Elie Hausman, elevated the performance to new heights with their lively music. The violin, clarinet, cello, and accordion played by the band added a jive and rhythm that helped bring the emotional landscape of the production to life. Their presence was both subtle and significant, adding even more layers to the energy of the performance. 

As the cast effortlessly and impressively shifted between languages—Yiddish, English, French, and German—the fluidity of their expressions was striking. The switching of cadence, particularly between Yiddish and English, highlighted the difficulties of adapting to immigration in America and conveyed the tension between tradition and progress, resistance and submission. 

One of the standout elements of the production was the inclusion of Yiddish dance and song interludes, which brought energy and lightness to an otherwise heavy subject matter. The moments of satire also provided brief respite, eliciting chuckles from the audience even as they were reminded of the devastating realities that Sholem Asch and his actors faced.

Indecent is a rare theatrical experience, one that blends history, art, and powerful emotion into a single evening. The Columbia University Players have captured both the struggle and resilience of Sholem Asch and the Jewish community in 1920s America. With the Lerner Black Box performances sold out for March 27, 29, and 30th, it’s clear that this production has resonated deeply with its audience, and has expertly portrayed the enduring power of the stage.

Arts Editor Avery Baumel was the Assistant Producer for this production and did not substantially participate in the editing of this review.

Indecent cast via Olivia Kuan-Romano