Search Results: Returned 2 Results, Displaying Titles 1 - 2
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By Vogel, Paula[1998]., Dramatists Play Service Call No: DRAMA NF VOG Edition: Rev. ed. Availability:1 of 1 At Location(s) Summary Note: Chronicles the relationship between Li'l Bit and Uncle Peck through a series of flashbacks as it progresses from friendship to something darker during a series of driving lessons.
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By Vogel, Paula2017., Theatre Communications Group Call No: DRAMA NF VOG Availability:1 of 1 At Location(s) Summary Note: ""Indecent reminds us of the power of art to tell us truths long before we are able to recognize them as such." - Los Angeles Times "Indecent sheds an eye-opening light on a little-known time when theatrical history, Jewish culture, and the frank depiction of homosexuality intersected, with explosive results." - New York Times When Sholem Asch wrote God of Vengeance in 1907, he didn't imagine the height of controversy the play would eventually reach. Performing at first in Yiddish and German, the play's subject matter wasn't deemed contentious until it was produced in English, when the American audiences were scandalized by the onstage depiction of an amorous affair between two women. Paula Vogel's newest work traces the trajectory of the show's success through its tour in Europe to its abrupt and explosive demise on Broadway in 1923-including the arrest of the entire production's cast and crew. Paula Vogel's play How I Learned to Drive received the 1998 Pulitzer Prize for Drama, the Lortel Prize, Drama Desk, Outer Critics Circle and New York Drama Critics Awards for Best Play, as well as earning Vogel her second Obie. Other plays include The Baltimore Waltz, Desdemona, And Baby Makes Seven, The Long Christmas Ride Home, A Civil War Christmas, and Don Juan Comes Home from Iraq. She has also had a distinguished career as a teacher and mentor to younger playwrights, first at Brown University and currently at the Yale School of Drama. Based on real events, a provocative new drama from a Pulitzer Prize-winning playwright about one of Broadway's greatest controversies"--
