The Ghosts That Haunt ‘Indecent’

The New York Jewish Week's review of INDECENT, published April 20, 2017. 


It’s a spectacular beginning to an eye-catching production that is brilliantly choreographed by David Dorfman. As the play progresses, the performers, some of whom play musical instruments (accordion, violin and clarinet), frequently cavort around the stage with arms stretched high in stylized gestures that evoke the life of the shtetl.
— Ted Merwin for the New York Jewish Week

Review: ‘Indecent’ Pays Heartfelt Tribute to a Stage Scandal

The New York Times review on April 18, 2017 of the Broadway production of INDECENT.

‘Indecent’ delivers not only a history of styles of theater and their political contexts but also a portrait of Asch (played by Max Gordon Moore and Tom Nelis), as he progresses from youthful enthusiasm to embittered old age. This is achieved by a tight ensemble of chameleon performers — who also include Mimi Lieber and Steven Rattazzi and the musicians Matt Darriau, Lisa Gutkin and Aaron Halva — glowing with devotion to their craft and its possibilities.
— Ben Brantley for the New York Times

How One Jam Session Led to the Original Music for Broadway’s Indecent

Playbill's story on the music behind Paula Vogel's Broadway play INDECENT, and how Lisa Gutkin and Aaron Halva constructed the show's historic and cinematic score.

Indecent is meant to show a tiny slice of Jewish history and culture, and music is an integral part of that. It’s especially important for Gutkin, who is Jewish. “To have an opportunity to bring this world, this very intimate, Jewish old world to the public is astoundingly important to me,” she says emphatically. “This play is so important to me.”
— Diep Tran for Playbill

The Klezmatics Back To Roots

World Music Central's coverage of the new Klezmatics album Apikorsim/Heretics

The Klezmatics, the grand masters and innovators of klezmer music continue to charm with their new album, Apikorsim/Heretics. On this recording, the six musicians dig into traditional klezmer roots, although, as usual, they add contemporary elements that make their sound current.
— Angel Romero for World Music Central

Singer's Warsaw Festival 2016: An Annual Celebration of Music and Culture in Warsaw

A recap of the 2016 Singer's Warsaw Festival, an annual event that celebrates local music and culture. This year featured the Klezmatics as one of the festival's closing acts.

[The Klezmatics’] music is valued around the world for its experimental connections with multilingual singing, development of arrangements using many traditional and modern instruments, capitalization on Yiddish culture, and combination of contemporary styles of music.
— Paulina Tendera for World Music Central

Indecent: A Weird and Veritably Wonderful Tour de Force

Huffington Post's review of the off-Broadway production of INDECENT at the Vineyard Theater.

I’m always stunned by the joy of klezmer music, that a group of people who have suffered as much as the Jews have can produce such happy melodies. The joy of the music was reflected in the faces of audience members seated near me, as they recalled fiscally more impoverished but emotionally wealthier times.
— Myra Chanin for Huffington Post

Broadway's Last Ship Cast to Reunite for Special Concert

TheaterMania's announcement of the reunion concert of Sting-scored musical The Last Ship's cast, organized to raise funds for the Wallsend Boys' Club in northern England. 

The Last Ship in Concert will be a celebration of the show’s 104-performance run at the Neil Simon Theatre, with the evening themed around seafaring songs. Expect to hear sea shanties, pirate songs, material cut from the score by 16-time Grammy winner Sting, and classics like “Beyond the Sea.”
— David Gordon for TheaterMania