And Minneapolis audiences brought their own experiences with immigration in that Midwestern city. In Chicago, the cast had to do a matinee after the Tree of Life massacre in Pittsburgh, she continues. I don’t know what to say except, I’m so sorry.’ But fortunately I had a whole play to say that in.” Vogel, who cried every night while writing the play, has gotten used to teary audience sniffles and outright sobbing, both audible during the opening performance at the Ahmanson this month.ĭuring its New York run, a Chinese man came up to the playwright weeping, “and he said, ‘thanks for telling people how I feel as a non-native speaker,’” Vogel recalls, “and I said, ‘I want to apologize as an American.
Whereas early theatergoers were still during key moments of “Indecent,” now they are noisome. “But the conditions were there that made the election possible.”Īudience reaction has been evolving as the production has moved from city to city. “Audiences are responding more strongly now than they were when we first presented it in New Haven, because it preceded the election of Trump,” Vogel says.
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