Show Details
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Apr 04, 2016 - Aug 07, 2017
Running time: 1:40
James Earl Jones Theatre
138 W 48th St
New York, NY 10036
By Subway: F to 47-49 St./ Rockefeller Center
Show Description:


Rebecca Taichman


David Dorfman

Written By

Paula Vogel

Listed at TKTS:
See TKTS Live
$39.00 - $129.00
prices subject to change
Buy Tickets


Age Guidance: 13
Show Notes
No Intermission


Six ADA compliant viewing locations with companion seating. Transfer optional.
Mezzanine, balcony, and lower lounge reached only by stairs. Seats 1,083.
Valet parking garage: Next door. No vans.
Curb Ramps
SE corner 48th St. & 7th Ave; SW corner of 48th St. & 6th Ave; Driveways on either side of theater.
Double doors in series: 1st set (each 26.5") has one pair of automatic doors from 48th Street to ticket lobby with push-button control; 2nd set (each 26.5", attended by ushers) to Orchestra.
Box Office
Ticket lobby. Counter 43". Accessible pass-through with writing shelf at 32". Assistance available
Womens and Mens: Lower level. Down seventeen steps.
Water Fountain
Rear orchestra, house left. Spout 36".
Ticket lobby. Coin slot 54". Cord Length 29". With TTY and electric outlet.
Assisted Listening System
Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Please call: (212) 582-7678 to reserve in advance.
Visual Assistance
Folding Armrests
Eleven row-end seats with folding armrests.



FIVE STARS (out of five)

I was deeply moved by the play when it was at the Vineyard Theatre last year. On Broadway, with the same wonderful ensemble cast, it fills a much larger space without losing its essential intimacy. The script is Vogel’s, the staging Taichman’s, but the two are so lovingly intertwined as to be almost inseparable. The seven actors—Katrina Lenk, Mimi Lieber, Max Gordon Moore, Tom Nelis, Steven Rattazzi, Richard Topol and Adina Verson—weave multiple roles into a seamless whole. The same is true of the music that flows through the show, performed by onstage musicians: violinist Lisa Gutkin and accordionist Aaron Halva, who cowrote the original klezmer-accented score, and clarinetist Matt Darriau.

Read More of the TimeOut NY Review
Among the intriguing questions proposed by “Indecent” is the role of puritanism in forming America, in contrast to the tolerance of unorthodoxy in cosmopolitan Europe. Vogel also interrogates the false promise of welcome and assimilation. For some immigrants to America, the proverbial “melting pot” turned out be a bitter stew of disappointment and ongoing displacement. The legacy of both these themes resonates compellingly in our shared present.

Read More of the Broadway News Review
This is not a linear production, so scenes in real time bleed into times past and future, and backstage scenes echo scenes within the play. But from time to time the audience can’t help but apply its own knowledge — of the ominous threat of Hitler’s gathering power in Germany, for example — to scenes in which the company calmly discusses whether to bring their successful play to the United States We already know the outcome of their professional arguments. But such is the tension of the production, you want to stand up and warn this brave little troupe to catch that ship before it sails.

Read More of the Variety Review


Why Klezmer Music Haunts Broadway's 'Indecent'

Apr 11, 2017

Inside the score for this fevered take on history

Can You Feel It? The People in 'Indecent' Are Alive

May 12, 2016

How Paula Vogel ignites her latest play