Drama Class Discussion

 

I need 250 words Initial post of these two questions and 60-70 words two replies. I already attached the post of another students. 

Link of filmed theatrical production: https://fresnostate-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=01CALS_ALMA51570463250002901&context=L&vid=01CALS_UFR&lang=en_US&search_scope=EVERYTHING&adaptor=Local%20Search%20Engine&tab=everything&query=any,contains,indecent&offset=0

This week we are watching a filmed theatrical production of Indecent, a play by Paula Vogel.

To understand the historical significance and the context of this play, you will need to read the short document entitled “A Little context on the play” before watching it.  Then, answer the following questions:

1. Our standards of decency are personal and influenced by many factors including religious, cultural, and family beliefs. In your opinion, why is the play called “indecent”? Does the play do a good job of capturing the complexity of the controversy around this play? Please explain (10pts)

2. The play “God of Vengeance” was an incredible success in Europe. Why do you think it was received so differently in the United States? Was it cultural differences? Do you think that difference in mentality and culture remains today? Please be specific. (10pts)

Alexxine Marcelina Muir

Alexxine Marcelina Muir

Yesterday16 Oct at 0:55

Manage discussion entry

1. I feel like the title of the play is Indecent because of the perspective of the American audience that ultimately determined the demise of The God Of Vengeance, had it not been for these perspectives Indecent wouldn’t exist. Ultimately, indecency is what made the American’s decide to cut important parts of The God Of Vengeance. Then that cutting of the important parts led to the cast and producers being arrested because of obscenity which is a synonym of indecent. I think this is why indecent is the name of the play because without the interpretation of The God of Vengeance as indecent, Vogel’s work wouldn’t need to exist. I believe Vogel’s work does a fantastic job of displaying the controversy and also helping us understand the injustice that was done to the play when it was being performed on American soil. Vogel didn’t leave any stone unturned and really made the dialogue understandable by the audience. The musical soundtrack also helped to set the mode of the part of the part we were diving into.

2. I think the reason why The God of Vengeance was perceived so differently in the United States is because of our inability to process things that aren’t perceived as “normal”. It took the U.S 109 years to legalize same sex marriage. The U.S fears things it can’t process or understand because we are so close-minded as a nation. The U.S has always had differences with other cultures a prime example being Native Americans. Yes, I believe that mentality and culture still exists today because of all of the civil unrest that is being experienced today. The way America treated the Yiddish play is no different then the responses towards immigration and Native American reservations, since these things are different then our normal, a good majority of America have a problem with it. I think Europe might have had an easier time perceiving the play for what it was supposed to be because I think they valued what was being put in front of them. The let the work or art be the work of art and not become an example of life for them in Europe.

Ericka Salazar

Thursday15 Oct at 0:30

Manage discussion entry

1. Our standards of decency are personal and influenced by many factors including religious, cultural, and family beliefs. In your opinion, why is the play called “indecent”? Does the play do a good job of capturing the complexity of the controversy around this play? Please explain (10pts)

The word Indecent means to not be conforming with generally accepted standards of behavior or propriety. I think the play is called “Indent” because those are the themes it portrays. The play had a lot of content that spoke about jews in America and lesbians. They did not accept these standards and the characters of the play were in poverty. Therefore, it makes sense that Paula Vogal decided to name the play “Indecent”. Yes, the play does a good job of capturing the complexity of the controversy around this play. It was actually quite interesting to watch a play about a play. The characters did a good job in staying in character and making sure the audience knew they were playing a play. The said phrases like, “this is my only opportunity to star in a play”. All while speaking about the social themes of the play. Like Jews in America. 

2. The play “God of Vengeance” was an incredible success in Europe. Why do you think it was received so differently in the United States? Was it cultural differences? Do you think that difference in mentality and culture remains today? Please be specific. (10pts)

I definitely think that the reason the play “God of Vengeance” was received differently in the United States than Europe was because of cultural differences. Europe is a culture of god and ancient history, while America is more modern. God of Vengeance comes from the bible and Europe has a strong religion with the bible. The difference in mentality and culture does remain today. America has a contervacity of accepting different standards that may seem a little off for Europeans. In Europe, there are more biased standards that are almost forced to be followed and while in America it could feel the same there are a few communities that are more open minded.

THE PLAY

Synopsis
When Sholem Asch wrote his
play The God of Vengeance in
1906, he was twenty-six years old.
Dedicated, like many other Jewish
authors of his time, to preserving
and fostering the Yiddish language,
his first stop when trying to give
the play life was a salon at the
home of I.L. Peretz, a Yiddish writer
and scholar. Peretz famously told
the young Asch to destroy it, “Burn
it, Asch, burn it.” Asch’s play tells
the story of Yekel, a brothel owner
who lives with his wife (a former
member of the brothel) above
the brothel. Yekel’s life’s desire is
to preserve his daughter, Rifkele,
from any harm; to mold her into
the perfect maiden, a spotless
candidate for marriage to a scholar
(“A sweetheart, — a golden one. A

wonderful student, of a fine family.”
Sarah, The God of Vengeance).
To that end, he commissions the
writing of a Torah scroll – a sacred
and expensive task – so that he
can hang it in his daughter’s room
for protection. What Yekel doesn’t
count on is the developing love
between Rifkele and Manke, one of
the prostitutes in his brothel.

Paula Vogel’s Indecent tells the
story of the original productions
of The God of Vengeance, ranging
from its premiere at the respected
Deutsches Theater in Berlin in
1907, through celebrated European
productions and finally a staging
in the United States. It is only with
a production in English in 1923 on
Broadway that the trouble begins.

After complaints filed by a local
respected rabbi, the play is shut
down and the producer, director
and some of the actors are charged
with obscenity. Indecent merges
fact and fiction around a theater
company, their personal stories,
and ultimately their sacrifice for the
art they hold so dear. A play with
music, Indecent combines the high
entertainment of Yiddish theater
with the heartbreak of the loss of
art and culture for an entire people.

Photo: Ben Cherry as Lemml (Dan Norman)

GUTHRIE THEATER \ 3

THE PLAYWRIGHT

Theatre, Dallas Theatre Berkeley
Repertory, and Alley Theatres to
name a few. Harrogate Theatre and
the Donmar Theatre have produced
her work in England.

Her plays have been produced
in Canada, Great Britain, Ireland,
Australia and New Zealand as well
as translated and produced in Italy,
Germany, Taiwan, South Africa,
Australia, Romania, Croatia, the
Czech Republic, Poland Slovenia,
Canada, Portugal, France, Greece,
Japanese, Norway, Finland, Iceland,
Peru, Argentina, Chile, Mexico,
Brazil and other countries.
John Simon once remarked that
Paula Vogel had more awards
than a “black sofa collects lint.”
Some of these include Induction
into the Theatre Hall of Fame,
Thornton Wilder Award, Lifetime
Achievement from the Dramatists
Guild, the William Inge Award,
the Elliott Norton Award, two
Obies, a Susan Smith Blackburn
Award, the PEN/Laura Pels
Award, a TCG residency award, a

Paula Vogel has written How I
Learned to Drive (Pulitzer Prize,
New York Drama Critics Award,
Obie Award, Lucille Lortel, Drama
Desk, Outer Critics Circle and many
more.) Other plays include A Civil
War Christmas, The Long Christmas
Ride Home, The Mineola Twins, Hot
‘n’ Throbbin, The Baltimore Waltz,
Desdemona, And Baby Makes
Seven and The Oldest Profession.

Her plays have been produced by
Second Stage, New York Theatre
Workshop, the Vineyard Theatre,
Roundabout, and Circle Repertory
Company. Her plays have been
produced regionally all over the
country at the Center Stage,
Intiman, Trinity Repertory, Woolly
Mammoth, Huntington Theatre,
Magic Theatre, The Goodman
Theatre, American Repertory

On
Paula Vogel

Guggenheim, a Pew Charitable
Trust Award, and fellowships and
residencies at Sundance Theatre
Lab, Hedgebrook, The Rockefeller
Center’s Bellagio Center, Yaddo,
MacDowell, and the Bunting.
But she is particularly proud of
her Thirtini Award from 13P, and
honored by three Awards in her
name: the Paula Vogel Award for
playwrights given by the Vineyard
Theatre, the Paula Vogel Award
from the American College Theatre
Festival, and the Paula Vogel
mentorship program, curated
by Quiara Hudes and Young
Playwrights of Philadelphia.

Official biography:

http://paulavogelplaywright.com/about/

8 \ GUTHRIE THEATER

Paula Vogel on Indecent

THE PLAYWRIGHT

I don’t think of this as a grim play; I think about it as
a love story in terrible times. If we love music and
theatre and the arts, if we take solace in people sitting
beside us in the theatre, if we do what is in our hearts,
I think there is light for us. I think the power of us
being together in a community gives us light through
the darkness. I’m writing this play because, regardless
of what I’ve witnessed in my life, I’ve never been sorry
that I’ve spent my life in the theatre. I think the power
of art is the power to wound our memory. I think
the power of art is a way for us to change our world
view. I think art is our spiritual bread that we break
together.

“An Interview with the Playwright: Paula Vogel on Indecent,”

Vineyard Theatre, 2016

Paula Vogel, whose father was Jewish, says she first
decided to write Indecent, part of which depicts
a theatre troupe during the Holocaust, when she
realized that young people today may never meet a
survivor. Those young people, she explains, represent
“a generation that is now growing up that doesn’t
have that direct access to memory.” Yet over the

course of the show’s mountings so far, beginning
in 2015 in a co-production at Connecticut’s Yale
Repertory Theatre and California’s La Jolla Playhouse
and followed by a 2016 Off-Broadway run prior to
its Broadway bow last year, she has seen audiences’
relationship to the piece change.

“As every day goes by into the Trump administration,
the parallels—which seemed at first perhaps a
little pat, a little convenient—between the Weimar
Republic and what’s happening to our democracy
don’t seem as metaphorical anymore,” Vogel says.
“The rise in hate speech, the white nationalism
that we’re witnessing now, is something no one is
ignoring.” These developments, Vogel says, mean
the play affects younger theatregoers more than
she anticipated, in particular “how much it resonates
with current first-generation Americans, who may be
Latino/Latina, Asian—in other words, audiences who
really are the first generation to be called American.”

Russell M. Dembin, “Outsiders of Long Standing,” American Theatre,

March, 2018.

Photo: the cast of Indecent (Dan Norman)

GUTHRIE THEATER \ 9

6V I C TO RY G A R D E N S T H E AT E R • I N D E C E N T S T U DY G U I D E

What was the
seed of Indecent ?
I read Sholem Asch’s
play God of Vengeance
when I was 23 years old,
and I was astonished by
it. In 1906, Sholem Asch
was brave enough to
write that Jews are no
different than Catholics
or Buddhists or people
of any religion, in

terms of having people in the tribe who may sell
religion for a profit, or who are hypocrites. That’s a
very hard thing for a man to do, especially in a time
of burgeoning anti-Semitism. Then add in the play’s
compassionate understanding of the powerlessness
of women in that time and place — Asch is a young
married man, in a very early work, writing the most
astonishing love story between two women and it
makes a pretty compelling play to read and perform.

Many years later, in 2000, I saw Rebecca Taichman’s
MFA Thesis production at Yale, which interwove the
text of God of Vengeance with the transcript of the
1923 obscenity trial against the play in New York. I
thought it was a fascinating idea. Flash forward to
five years ago, when I got a phone call from Rebecca
asking me to be involved. It took me thirty seconds to
say yes.

Why do you think God of Vengeance had
such an impact in its time?
God of Vengeance is set in a brothel run by a Jewish
man who is attempting to raise his daughter piously,
and it features a lesbian love story. When it was
performed in New York in 1923, there was deep
concern within the Jewish community about what
Christians would think. “Do you dare to say this in
public? Do you dare to show this in public?” It did
exactly what plays should do — it provoked people
into talking. God of Vengeance traveled all over the
world, and then it was closed down on Broadway.
Today, nearly 100 years after it was shut down,
it needs to be produced and talked about still —
playwrights and new plays should bite the hand that
feeds them, and that is what this play did.

Can you think of a contemporary play
that has provoked similar outrage?
The plays that I admire, and the playwrights that I
admire, are not shying away from the complexity of
racism, bias, sexism and the things that hurt us. I’d
point to An Octoroon by Branden Jacobs-Jenkins. That
is a play that has an insider/outsider perspective. A
musical I thought was astonishing was The Scottsboro
Boys. It’s a brilliant, virulent show and I’m glad The
Vineyard’s production succeeded in London but
it tells me a lot that it wasn’t as well-received on
Broadway. We are no different than the audiences
who sat and watched God of Vengeance.

Can you talk about your collaborative
process with Rebecca Taichman?
When Rebecca brought me into this project, I didn’t
see this as a play about the obscenity trial, as her
thesis project had been; as an older writer, there was
a larger story that I engage in. About a fiery young
playwright — not just Asch, but me, too — ignored
for decades and then embraced by students. Rebecca
was open and generous and allowed me to explore
my ideas. I knew right from the beginning that I
wanted music and a klezmer band, and Rebecca
brought on composers, dancers and a choreographer.
We talked over every page that I wrote; she showed
me things in her staging that opened up the play
for me and vice versa. She is an extraordinary, open-
hearted collaborator.

INTERVIEW WITH THE PLAYWRIGHT

PAULA VOGEL
By Miriam Weiner, Vineyard Theatre
From: https://www.vineyardtheatre.org/interview-playwright-paula-vogel-indecent/

https://www.vineyardtheatre.org/interview-playwright-paula-vogel-indecent/

7V I C TO RY G A R D E N S T H E AT E R • I N D E C E N T S T U DY G U I D E

You mentioned music, which plays
an important role in this play. Did
you know from the beginning how
important music would be to the piece?
Every piece I write starts with music. I can’t write
until I have a specific soundtrack that correlates to
the emotional journey of the play. Even plays like
Baltimore Waltz and How I Learned to Drive have a
complete score to them. So, right from the beginning,
I had songs selected to write to, though not every
song on my writing soundtrack makes it onto the
page; sometimes, as the play changes, I spend hours
finding a new song to match. As a writer, I don’t
think that anything I can write has the power that
music does. I’m happiest in the rehearsal room when
beautiful voices start singing.

What do you think Sholem Asch would
make of Indecent ?
I’m not sure what he’d think. I think Indecent respects
him and respects his work and, most of all, feels
a great empathy with the kind of pain he felt as a
Jewish, Yiddish writer born at the beginning of the
20th century and going through the hideous events
of that time. Indecent asks, how do you write in a
hideous time? How do you stay true to yourself?
What happens if you censor the work that is telling
the truth?

How do you see those questions in
terms of the theatre today?
So many times we reach for the “classics” to produce;
and meanwhile, there are brilliant Americans of color,
women and political writers who, by and large, are
kept off stage or out of the spotlight. This can only
mean that our discourse will continue to break down.
The isolation that America experienced before our
world wars was very detrimental and we are at a
point right now where we have politicians endorsing
the same sort of isolation. I see it as a very dangerous
time, the most divisive moment in politics in my
lifetime.

I do think we have an astonishing generation of
voices right now. In terms of younger artists, this is
the best time to write, act, and direct. It’s never been
more important. Hopefully I’ve encouraged fellow
writers and younger writers who will make people
feel differently about the world we all inhabit.

Ultimately, what do you hope the
audience will take away from Indecent ?
I don’t think of this as a grim play; I think about it
as a love story in terrible times. If we love music
and theatre and the arts, if we take solace in people
sitting beside us in the theatre, if we do what is in our
hearts, I think there is light for us. I think the power
of us being together in a community gives us light
through the darkness. I’m writing this play because,
regardless of what I’ve witnessed in my life, I’ve never
been sorry that I’ve spent my life in the theatre. I
think the power of art is the power to wound our
memory. I think the power of art is a way for us to
change our world view. I think art is our spiritual
bread that we break together.

DID YOU KNOW?
• 1907 was the busiest

year in the history of Ellis
Island, with 1.1 million
immigrants entering the
U.S. from the island.

• 109 years after Sholem
Asch wrote God of
Vengeance, same sex
marriages were legalized
in all 50 states by a U.S.
Supreme Court ruling on
June 26, 2015.

8V I C TO RY G A R D E N S T H E AT E R • I N D E C E N T S T U DY G U I D E

ANTI-SEMITISM
Prejudice specifically against Jewish
people.

COSSACK
Refers to one from southern Russia or
the Ukraine.

EUGENE O’NEILL
Famous Pulitzer Prize-winning
American playwright.

FARSHTINKENEH
Yiddish word for “stinking”; a rotten
person.

GELT
Yiddish word for “money” (often
associated with chocolate coins given
at Hanukkah).

GOD OF VENGEANCE
1907 play by Sholem Asch. The
American mounting of which is
the subject of Indecent. Marked as
obscene for its portrayal of a lesbian
romance.

GOYIM
A Hebrew word used in the Jewish
community for Non-

Jewish people.

CHUPPAH
Canopy under which a Jewish couple
stands during their wedding.

KETUBAH
A Jewish prenuptial agreement setting
the responsibilities of the groom to
the bride.

MESSIAH
The prophesied savior of the
Jewish people.

MINYAN
The group of ten Jewish adults
required to perform certain religious
practices and prayers. Historically it
must consist of men, ages 13 and over.
Some modern synagogues accept
women as members of a minyan.

RABBI
A Jewish scholar/expert on Jewish
law; often the leader of a Jewish
congregation.

RUDOLPH SCHILDKRAUT
Famous Austrian actor and member
of the original 1923 American cast of
God of Vengeance.

SHOLEM ASCH
Polish-Jewish playwright and novelist;
writer of God of Vengeance.

SHTETL
Yiddish term for a small Jewish
village or town in Central and Eastern
Europe.

TORAH
The holy text of the Jewish faith.

GLOSSARY OF TERMS

For help with the pronunciation of some of the glossary words visit: https://en.oxforddictionaries.com/

ABOUT YIDDISH
Yiddish was first used by the Jewish communities in Central and Eastern Europe before
the Holocaust. At that time they were forced to live in segregated communities, were
not permitted to own property and worked menial jobs. It was in these segregated
neighborhoods that Yiddish was created. It was originally a German dialect with words
from Hebrew and several modern languages and is today spoken mainly in the US, Israel,
and Russia.

TRUE OR FALSE?
Q. Yiddish is the nickname for Hebrew, which is the official language of

Jewish people.

A. ________

Q. Individuals immigrating into the United States in 2018 face different issues
from immigrants in the 1900s.

A. ________

https://en.oxforddictionaries.com/

11V I C TO RY G A R D E N S T H E AT E R • I N D E C E N T S T U DY G U I D E

ABOUT GOD OF VENGEANCE
Young playwrights committed to preserving the Yiddish language often had
their plays read at salon (a cultural gathering) at the home of Yiddish writer
and scholar, I.L. Perets.

In 1906, 26-year-old writer Sholem Asch followed that tradition when he wrote
Got fun nekome (God of Vengeance). After the reading, Peretz instructed the
young playwright to destroy the play. Ironically, God of Vengeance was the first
Yiddish language play to be translated and staged across Europe. Asch’s play
was translated into Russian, Polish, Hebrew, English, Italian, French, Dutch,
Czech, Swedish, and Norwegian.

In 1912, the Moscow branch of cinema firm, Pathé Frères, released a silent
film of Got fun nekome (The God of Vengeance) with Russian subtitles.
Unfortunately, the film is presumed lost.

The original Broadway cast of God of Vengeance

Original photo from 1907 production at The Deutches Theatre in Berlin. The People vs. The God of Vengeance, from Yale School of Drama
by Rebecca Taichman.

14V I C TO RY G A R D E N S T H E AT E R • I N D E C E N T S T U DY G U I D E

AN OPEN LETTER FROM

SHOLEM ASCH
From: https://yiddishstage.org/an-open-letter-by-sholom-asch-author-of-got-fun-nekome

Because of the wrong interpretation of my play, God
of Vengeance, now running at the Apollo Theatre, I
wish to make the following statement:

I wrote this play when I was twenty-one years of
age. I was not concerned whether I wrote a moral or
immoral play. What I wanted to write was an artistic
play and a true one. In the seventeen years it has
been before the public, this is the first time I have had
to defend it.

When the play was first produced, the critics in
Germany, Russia, and other countries, said that it
was too artistically moral. They said that for a man
like “Yekel Shepshovitch,” keeper of a brothel, to
idealize his daughter, to accept no compromise with
her respectability, and for girls like Basha and Raizel,
filles de joie, to dream about their dead mother, their
home, and to revel in the spring rain, was unnatural.
About two years ago I was approached by New
York producers for permission to present the play in
English. I refused, since I did not believe the American
public was either sufficiently interested or adequately
instructed to accept God of Vengeance.

I don’t know whether I can explain the real feeling
I wanted to put into this play. It is difficult for an
author to comment on his own work. As to the scenes
between Manka and Rifkele, on every European
stage, especially the Russian, they were the most
poetic of all, and the critics of those countries
appreciated this poetic view. This love between
the two girls is not only an erotic one. It is the
unconscious mother love of which they are deprived.
The action portrays the love of the woman-mother,
who is Manka, for the woman-child, who is Rifkele,
rather than the sensuous, inverted love of one woman
for another. In this particular scene, I also wanted
to bring out the innocent, longing for sin, and the
sinful, dreaming of purity. Manka, overweighed with
sin, loves the clean soul of Rifkele, and Rifkele, the
innocent young girl, longs to stay near the door of
such a woman as Manka, and listen within.

As to the comment that the play is a reflection on the
Jewish race, I want to say that I resent the statement
that God of Vengeance is a play against the Jews. No
Jew until now has considered it harmful to the Jew. It
is included in the repertoire of every Jewish stage in
the world and has been presented more frequently
than any other play.

God of Vengeance is not a typical “Jewish play.” A
“Jewish play” is a play where Jews are specially
characterized for the benefit of the Gentiles. I am not
such a “Jewish” writer. I write, and incidentally my
types are Jewish for of all peoples they are the ones I
know best. God of Vengeance is not a milieu play — it
is a play with an idea. Call “Yekel” John, and instead
of the Holy Scroll place in his hand the crucifix, and
the play will be then as much Christian, as it is now
Jewish.

The fact that it has been played in countries where
there are few Jews, Italy for instance, and that there
the Gentiles understood it for what it is, proves that
it is not local in character, but universal. The most
marked Jewish reaction in the play is the longing of
“Yekel Shepshovitch” for a cleaner and purer life.
This is characteristically Jewish. I don’t believe a man
of any other race placed in “Yekel’s” position would
have acted as he did in the tragedy that has befallen
his daughter.

Jews do not need to clear themselves before any one.
They are as good and as bad as any race. I see no
reason why a Jewish writer should not bring out the
bad or good traits. I think that the apologetic writer,
who tries to place Jews in a false, even though white
light, does them more harm than good in the eyes of
the Gentiles. I have written so many Jewish characters
who are good and noble, that I can not now, when
writing of a “bad” one, make an exception and say
that he is a Gentile.

—Sholem Asch

https://yiddishstage.org/an-open-letter-by-sholom-asch-author-of-got-fun-nekome

ADDITIONAL INFORMATION

For Further Reading and Understanding

Adelson, Alan, Lodz Ghetto: a
community history told in diaries,
journals and documents, Viking
Press, 1989.

Asch, Sholem, The God of
Vengeance, Nabu Press, 2014.

Asch, The Nazarene: a Novel based
on the Life of Christ, Carrol and
Graf, 1996.

Curtin, Kaier, We Can Always Call
Them Bulgarians: the Emergence
of Lesbians and Gay Men on the
American Stage, Alyson Books,
1987.

Dobroszycki, Dr. Lucjan, The
Chronicle of the Lodz Ghetto, 1941-
1944, Yale University Press, 1984.

Eisenstein, Bernice, Memory
Unearthed: The Lodz Ghetto
Photographs of Henryk Ross, Art
Gallery of Ontario, 2015.

Flam, Gila, Singing for Survival: The
Songs of the Lodz Ghetto, 1940-45,
University of Illinois Press, 1995.

Hertz, Alexander, The Jews in Polish
Culture, Northwestern University
Press, 1988.

Hoffman, Warren, The Passing
Game: Queering Jewish American
Culture, Syracuse University Press,
2009.

Houchin, John H., Censorship of the
American Theatre in the Twentieth
Century, Cambridge University
Press, 2003.

Hunter, Marcella, Yiddish Theatre:
New Approaches, The Littman
Library of Jewish Civilization
in association with Liverpool
University Press, 2007.

Johnson, Katie N., Sisters in Sin:
Brothel Drama in America, 1900-
1920, Cambridge University Press,
2009.

Nahshon, Edna, New York’s Yiddish
Theater: From the Bowery to
Broadway, Columbia University
Press, 2016.

Raphael, Marc Lee, Judaism in
America, Columbia University Press;
2003.

Sandrow, Nahma, Vagabond Stars:
a world of Yiddish Theater Syracuse
University Press, 1996.

Siegel, Ben, The Controversial
Sholem Asch: an introduction to his
fiction, Popular Press, 1976.

Weber, Ilse, Dancing on a
Powderkeg: The Intimate Voice
of a Young Mother and Author,
Her Letters Composed in The
Lengthening Shadow of Hitler’s
Third Reich, Her Poems from the
Theresienstadt Ghetto,
Bunim & Bannigan Ltd. in
association with Yad Vashem, 2017.

Vogel, Paula, Indecent, Theatre
Communications Group, 2017.

16 \ GUTHRIE THEATER

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