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Florida school board cancels Paula Vogel’s ‘Indecent,’ a ‘queer Jewish love story’ about a censored Yiddish play
(JTA) — In 1923 in New York, a Yiddish play that featured the first lesbian scene on a Broadway stage was censored for being indecent. In 2023 in Florida, a play about the first play has been canceled for the same reason.
For many involved in the new play, including its Pulitzer Prize-winning Jewish playwright and the Florida high schooler cast in a lead role, the déjà vu is alarming.
“The 100-year anniversary of Sholem Asch’s ‘God of Vengeance’ being shut down on Broadway is the same week that our production of ‘Indecent’ would have opened,” said Madeline Scotti, the student who first drew attention on Instagram to the censorship by her local school board of the “queer Jewish love story” in which Scotti had been cast. “One hundred years — 100 years — and we are still fighting the same injustices that Sholem Asch and his company did.”
Scotti is a student at Douglas Anderson School of the Arts in Jacksonville, Florida, where students had been planning to perform Paula Vogel’s “Indecent” this spring — until officials told them on Thursday, the first day of rehearsals, that their show could not go on. Scotti attributed the censorship to Florida’s new law limiting classroom instruction and discussion about sexual orientation and gender identity — what opponents call the “Don’t Say Gay” bill.
Vogel said she, too, was first concerned about homophobia — then added other worries as she heard from people in Jacksonville.
“Parents who live in the community have written to me and said, ‘There is rising antisemitism in our community,’” Vogel told the Jewish Telegraphic Agency on Sunday. “I very much think that what the school board may not be able to express is their concern about presenting a play that shows how censorship is the first step to the Holocaust.”
Vogel’s 2015 play is about the 1923 Broadway debut of “God of Vengeance,” a play written in Yiddish by Sholem Asch that includes perhaps the first romantic kiss between two women on an American stage. In “Indecent,” the actresses who play the lesbian characters in the Asch play are depicted as lovers off stage. The plot picks up after “God of Vengeance” is shuttered and its cast briefly imprisoned over obscenity charges. “Indecent” follows the stage manager who returns to Eastern Europe, disheartened by what happened in America, and is ultimately murdered by the Nazis.
Students at Douglas Anderson all had permission to act in “Indecent,” and they had put on other shows portraying sexuality in the past: “Chicago” last year, and “Rent” before that. But conditions in the state changed last year when Florida’s Republican governor, Ron DeSantis, signed the Parental Rights in Education Law into effect, stoking fear among LGBTQ teachers and students and causing school districts to alter policies.
The board in Duval County has defended the law, drawing a lawsuit from parents and advocates over what they said was its enforcement and arguing in court last fall that the district should be allowed to implement the law while litigation pends.
“Tonight during rehearsal our company was notified that the school board is shutting us down not because of but related to the ideals stated in the ‘Don’t Say Gay’ bill,” Scotti said in the video. “‘Indecent’ is a story about how detrimental censorship is, about how its damaging effects can ruin a nation and a community. I don’t need to point out the irony.”
Duval County Public Schools officials denied that the decision to cancel the production had anything to do with the law.
“‘Indecent’ contains adult sexual dialog that is inappropriate for student cast members and student audiences,” the district said in a statement. “It’s that simple. The decision has no relevance to any legislation but is rather a function of our responsibilities to ensure students engage in educational activities appropriate for their age.”
Vogel said she believes the show’s contents are appropriate for teenage audiences — and that she would have permitted changes to the show’s display of sexuality. She volunteered that a school production of “Indecent” could feature the two women holding hands, rather than kissing, in a tweak she likened to removing profanities from some of her other award-winning works. “The judgment by the board that this is too mature for high school students is absolute nonsense,” she said.
The censorship in Jacksonville is the latest in a string of incidents in which works with Jewish themes or about the Holocaust have been ensnared in efforts to limit schoolchildren’s exposure to ideas that some parents oppose.
School reading materials are under increasing scrutiny amid conservative parent groups’ pressure to remove ideas they define as “critical race theory” and “gender ideology.” Books about Jews have gotten caught in the dragnet, including in a Tennessee district that removed the Holocaust memoir “Maus” from its curriculum, a Texas district that briefly removed an adaptation of Anne Frank’s diary and a Missouri district that briefly removed history books about the Holocaust.
Florida is a front line in this new culture war. In Walton County, in the state’s Panhandle, the children’s book “Purim Superhero” was among dozens of titles removed from shelves last year in response to parents’ protests; its main character has two fathers. And the Duval County district kept a diversity-themed collection of children’s books that included a book about Shabbat from students for more than a year. Two candidates supported by the local chapter of Moms for Liberty, a group leading the censorship push, won spots on Duval County’s seven-member school board in November.
Florida has also recently emerged as a hotbed of white supremacist and neo-Nazi activity. The Anti-Defamation League issued a report last year raising alarms about extremist activity in the state — and that was before the leader of the Goyim Defense League, a prominent antisemitic group, moved there from California. The group played a role in broadcasting “Kanye is right” at a college football game in Jacksonville in October, referring to the artist Kanye West’s antisemitic comments. It is also behind the distribution of antisemitic propaganda, often in plastic bags placed under rocks at private homes, around the country and locally.
Vogel said she saw a clear echo of what happened with Asch’s play in 1923, when the play was censored amid an atmosphere of rising antisemitism in the United States. (The rabbi of Temple Emanu-El in New York City, concerned that the play could cast Jews in a negative light at a time when non-Jews were organizing antisemitic campaigns, reportedly sounded the alarm to authorities; the play was later banned in London, too.)
She said is planning a response beyond the encouraging message she left on Scotti’s Instagram post and the exhortation to Douglas Anderson’s principal that she tweeted. (“Why cancel Indecent rather than structuring post-play discussions?” she wrote. “It is a unique way to look at the Holocaust as well as gender and censorship and antisemitism.”) But the antisemitic activity in Jacksonville, Vogel said, has made her cautious about sharing details of who she is working with locally.
“I don’t want to name anybody because I don’t want anyone having more rocks with [antisemitic] literature in their driveway,” she said. “I want to talk in a group with the students, but I don’t want to jeopardize them. … I don’t want to trigger some wackadoo.”
Vogel said she had spent the weekend Zooming and speaking with members of the original cast of “Indecent,” who worked together for several years as the play made its way from a small stage to Broadway, where it won the Tony Award for best play of 2015. On Monday, she said she hoped to offer the school’s principal “a modest little proposal”: to travel to Jacksonville along with Rebecca Taichman, the play’s original director, to present “Indecent” to the students who were barred from staging it themselves and to a community that could benefit from a hard conversation.
“We know this historically: The first step towards totalitarianism is censorship of the arts. It’s burning books. It’s closing down theaters. … In all societies as we go towards fascism, the arts are labeled as degenerate,” Vogel said. “That’s the conversation we need to be having.”
Vogel said her response was informed by her decades as a teacher; she was a professor for many years at Brown University and then moved to Yale, where she was chair of the playwriting department at the vaunted Yale School of Drama.
“I have one response as a Jewish artist. I have another response as an educator,” Vogel said. “And right now it’s the educator who is coming forward.”
The principal of Douglas Anderson School of the Arts told students last week that “Indecent” would be replaced by a different play, Anton Chekhov’s “The Seagull.” But some of the student actors may have other plans.
“The support from the Broadway theatre community feels like we have found our own mishpoche,” Scotti posted on Instagram on Sunday, using the Yiddish word for “family.”
Scotti added, “I am delighted to say that we have something in the works. The company is meeting and discussing as you’re seeing this. From ashes we rise!”
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The post Florida school board cancels Paula Vogel’s ‘Indecent,’ a ‘queer Jewish love story’ about a censored Yiddish play appeared first on Jewish Telegraphic Agency.
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Words of rescue: Yermiyahu Ahron Taub’s new book of poetry
עס זײַנען דאָ פּאָעטן װאָס זײַנען נבֿיאים, ווי למשל משה קולבאַק און חיים־נחמן ביאַליק. פֿאַראַן פּאָעטן פֿילאָסאָפֿן, װי עמילי דיקינסאָן אָדער אַהרן צײטלין. און טײל פּאָעטן זײַנען קינסטלער פֿון אימזאַש, װי רחל פֿישמאַן. זעלטן װען אָבער זעט מען אַ פּאָעט, װאָס איז מסוגל דורך זײַנע לידער צו באַלעבן אָדער באַװױנען עטלעכע פּערזענלעכקײטן, פּאַרשױנען, און דערבײַ אױפֿצובױען אַ גאַלעריע פֿון פֿאַרשײדענע מענטשן־טיפּן.
דער פּאָעט איז אָפֿט מאָל אַ שרײַבער פֿון ליריק, דאָס הײסט, פֿערזן װאָס װערן אַרױסגעזאָגט פֿון אַ געװיסן „איך“ װען לידער זײַנען אינטערעסאַנט, װיל מען הערן אַלץ מער פֿונעם „איך“. נאָר אַ פּאָעט װאָס קען באַשילדערן פֿאַרשײדענע פֿיגורן טוט אױף עפּעס ברײטערס.
אין זײַן נײַסטן ביכל פּאָעזיע, „עלות־הלילה אױפֿן בױדעם,“ שטעלט ירמיהו אַהרן טאַוב פֿאָר סײַ קאָמפּאָזיציעס פֿון לירישן „איך“, אַ נאַראַטאָר װאָס איז אין געװיסע אַספּעקטן ענלעך צו טאַובן אַלײן, סײַ דיכטונגען פֿון אַנדערע װעלטן, גאַסן און געגנטן. דאָס אַלץ טוט ער אין פֿאַרשײדענע זשאַנערס (לידער, פּראָזע־מיניאַטורן) און פֿאַרשײדענע שפּראַכן: נישט נאָר ענגליש מיט ייִדיש, נאָר אױך (אין אײן פֿאַל) ענגליש צוזאַמענגעפֿלאָכט מיט לשן־קודש.
לײענערס װאָס זײַנען שױן באַקאַנט מיט טאַובס װערק װעלן דאָ דערקענען פֿריִערדיקע מאָטיװן, װאָס זײַנען עיִקר־טעמעס פֿאַרן דאָזיקן מחבר. ער איז דער מײַסער־פּאָרטרעטיסט פֿון סעקסועלע דערװאַכונג, אַנטױשטן באַגער (סײַ רעליגיעזער, סײַ קערפּעלערכער), ריסן צװישן דורות, פֿאַרװעלקטער פֿרומקײט. נאָר זיכער האָט מען שױן אין אַנדערע קאָנטעקטן באַרירט די פֿאַרבינדונגען צװישן „קװירשאַפֿט“, אָפּגעפֿאָרנקײט פֿון פֿרומען דרך, און ייִדיש, װי טעמעס פֿון פּאָעזיע און ליטעראַטור בכלל. די דאָזיקע צװישנשײדן זײַנען גאָר װיכטיק פֿאַר טאַובס שאַפֿונגען.
באַזונדערש רירנדיק דאָ זײַנען די בילדער פֿון משפּחה־רײַבונגען, פֿון באַגעגענישן װאָס ברענגען נישט צו קײן עמאָציאָנעלע פֿאַרשטענדיקונגען.
אין אײנעם אַ ליד טרעפֿן מיר דעם נאַראַטאָרס פֿאָטער, אַ פֿרומען ייִד, װאָס סע װילט זיך אים גאָר שטאַרק לערנען זײַן קינד װי אַזױ צו װאַרפֿן אַ בײסבאָל. צום באַדױערן, טױג דאָס קינד צו דעם אַזױ פֿיל װי ער טױג צו לערנען — דאָס הײסט, גאַנץ שװאַך.
די זעלבע פֿיגור, דער פֿרומער פֿאָטער װאָס איז נישט צופֿרידן מיט זײַן אָפּגעפֿאָרענעם קינד, באַװײַזט זיך אין נאָך עטלעכע לידער אין באַנד, אַלע מאָל אין הינטערגרונד, בעטנדיק נאָך אַ קדיש, נאָך אַ בלאַט גמרא, כאָטש אַ מנחה, און אַלע מאָל דעם שטױס נאָך פּרו־ורבֿו. דער נאַראַטאָר, װידער, פֿאַרצײכנט זײַנע פֿאָטערס באַגערן. זײַנע אײגענע באַגערן ליגן אָבער ערגעץ אַנדערש.
טאַוב פֿאַרברײטערט אָפֿט זײַן קוק צו באַקענען אונדז מיט אַנדערע פּאַרשױנען: פֿרױען אין פֿאַרשלאָפֿענע שטעטלעך, ערשטמאָליקע „גײ“־ליבע־באַגעגענישן, אױסשטאַרבנדיקע מנינים. אױך חיות באַלעבט ער אין זײַנע פֿערזן:
די װילדע קאַץ װאָס האָסט געראַטעװעט פֿונעם הינטערגעסל
קאָרטשעט זיך, אומרויִק אונטערן גלעט פֿון דײַן האַנט,
ניט אין שטאַנד אױסצוהאַלטן, ניט אין שטאַנד זיך אַװעקצודרײען פֿון אַזאַ הנאָה.“
אַ באַמערקונג װעגן שפּראַך: װי אין זײַנע פֿריִערדיקע ביכלעך, װערן דאָ אַרײַנגענומען לידער אױף ענגליש און אױף ייִדיש. די ייִדיש־נוסחאות זײַנען אַלע מאָל באַגלײגט מיט פּאַראַלעלע ענגלישע װערסיעס. (איך דערלױב זיך דאָ אַ פּאָר אײדעלע טענות װעגן די גרײַזן װאָס זײַנען אַרײַנגעפֿאַלן אין די ייִדישע טעקסטן, און דאָס, װאָס טײל פֿון די ייִדיש־װערסיעס װערן געדרוקט אין קלענערע אותיות פֿון די ענגלישע.)
מע װאָלט דאָ געקענט זיך אַרײַנלאָזן אין אַ לענגערער דיסקוסיע װעגן די באַציִונגען פֿון די דאָזיקע װערסיעס. זײ זײַנען איבערזעצונגען אײנס פֿון אַנדערן, נאָר אױך אינטערפּרעטאַציעס. די ייִדישע לידער זײַנען (װאָדען?) מער אַדורכגעדרונגען מיט דער דראַמע װאָס באַגלײגט דאָס גאַנץ ביכל: די רײַבונגען צװישן דעם טראַדיציאָנעלן לעבן־שטײגער, פֿול מיטן שטרענגען דין, און דער בענקשאַפֿט פֿון דעם נאַראַטאָר, אַן אָפּגעפֿאָרענער װאָס װיל זיכער נישט זיך אומקערן, און פֿאָרט בענקט זיך אַהין. אינעם ליד „מילך־און־האָניקדיקע לבֿנה־האַרבסטונג“ לײענט זיך אַ ביסל טרוקן די ענגלישע שורה And, in that way, the Day of Rest lived up to its name
בשעת דאָס ייִדישע „און אַזױ טאַקע האָט דער יום־מנוחה אונדז נישט אַנטױשט“ גיט איבער אױף אַ קלאָרן אױפֿן װעגן װאָסער מין רו גײט דאָ די רײד.
איך האָב דאָ באַװיזן איבערצוגעבן נאָר אױפֿן שפּיץ מעסער די טעמאַטיק פֿון די דאָזיקע לידער. כאָטש טאַוב, בדרך־כּלל, גיט די בכורה עמאָציעס און געפֿילן, נישט קאָנסטאַטירונגען און אידעאָלאָגיעס, איז דאָס ביכל נישט קיין אומפּאָליטישע. פֿאַרקערט, די (ענגלישע) לידער „דער אָפּרו פֿון אַקטיװיסט“ און „פּערמאַנענטער אײַנװױנער, אָן קײן גרינעם קאַרטל“ גיבן איבער אױף אַ האַרץ־רײַסנדיקן אופֿן, װי זײערע טיטלען זאָגן אָן, די אָנשטרענגען און קאָמפּראָמיסן פֿון הײַנטיקן פּאָליטישן מאָמענט.
לױט מײַן מיינונג ווערט דאָס ביכל אָרגאַניזירט מיטן דראַמאַטישן בױגן פֿון אַ מענטשלעכן לעבן, פֿון ענגלישן ליד „דאָס ליכט בײַם אָנהײב טונעל“, אין אָנהײב, ביזן לעצטן ליד „צום סוף“, װאָס װענדט זיך צום לײענער אַזױ:
װען איך גײ אַװעק,
רײַס ניט די קלײדער,
און טראָג ניט קײן שװאַרץ,
באַהאַלט ניט דעם שפּיגל….
זײַ נישט קײן אָבֿל אין גאַנצן.
„װען איך גײ אַװעק,“ זאָגט דער נאַראַטאָר, „מאַך פֿאַר זיך אַ שׂימחה.“
נאָכן געזעגענען זיך מיטן דאָזיקן ביכל, װינטשט מען דעם מחבר נאָך לאַנגע יאָרן פֿון דער שׂימחה פֿון שאַפֿן נאָך טיף־גרײכנדיקע און פֿילעװדיקע מעדיטאַציעס װעגן לעבן און טױט, פֿרומקײט און װעלטלעכקײט, סעקס און ליבשאַפֿט, „קװיר“־ און העטעראָ־אידענטיטעט.
אין „געבעט“, דאָס סאַמע ערשטע ליד, װענדט זיך דער פֿאָטער צום נאַראַטאָר: „דער טאַטע רופֿט מיך צו היטן שבת“, צו דאַװנען, צו לערנען, זאַכן װאָס דער נאַראַטאָר װיל נישט, איז נישט מסוגל צו טאָן. קומט דער פּאָעט צום אױספֿיר אַז „נאָר די װערטער קענען מיך ראַטעװען.“
אַ בעסערע װעלטלעכע תּפֿילה קען נישט זײַן. הלװאַי אױף אונדז אַלעמען געזאָגט געוואָרן.
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Israel, US condemn Belgium over planned prosecutions tied to Jewish circumcisions
(JTA) — A diplomatic spat erupted on Wednesday after Belgian prosecutors moved to charge two Jewish men tied to ritual circumcisions, prompting Israeli and U.S. officials to accuse Belgium of targeting Jews for practicing their faith.
Gideon Saar, Israel’s minister of foreign affairs, lit into the country in a post on X Wednesday morning, calling the indictments a “scarlet letter on Belgian society.”
“With this act Belgium joins a short and shameful list, together with Ireland, of countries that use criminal law to prosecute Jews for practicing Judaism,” Saar wrote, later calling circumcision a “cornerstone of Jewish faith” and urging the Belgian government to “act immediately and to find a solution.”
Saar’s condemnation was quickly joined by the U.S. ambassador to Belgium, Bill White, who had previously called on Belgium to drop the “ridiculous and antisemitic” investigation of mohels in February.
“This is a shameful stain on Belgium,” White wrote in a post on X. “The prosecution of these religious figures (mohels), one of whom is American, is WRONG and won’t be tolerated. Belgium will be thought of now as anti Semitic by world. Until this is resolved – there is no way around it.”
White, a President Donald Trump appointee who faced criticism for amplifying social media posts by a far-right Belgian political activist convicted of racism and Holocaust denial, added that the “Trump Administration condemns this judicial action” and called on the Belgian government to “work with the Jewish leaders and communities to find a certification solution immediately.”
The condemnation by White and Saar comes after the Antwerp Public Prosecutor’s Office announced that it intends to prosecute two Jewish men on charges related to performing circumcisions, a practice that is required by law to be performed by licensed medical professionals in Belgium.
Last year, Belgian authorities raided multiple sites, including two in Antwerp’s Jewish Quarter, at the beginning of an investigation into illegal circumcisions. Investigators also requested lists of children who had recently been circumcised, according to VRT NWS, the Flemish public broadcaster.
But the sharp criticism by the two leaders was later dismissed by Belgian Foreign Minister Maxime Prévot, who wrote in a reply to White’s post that it was “inappropriate to publicly criticize a country and tarnish its image simply because you disagree with judicial proceedings.”
“I recall that the proceedings in question were initiated by representatives of the Jewish community themselves,” Prévot continued. “To portray those as a country’s desire to undermine the religious freedom of Jews is defamatory. This freedom has never been called into question and never will be in our country. Our Constitution protects it. And it is not for an ambassador to dictate the government’s agenda.”
In response to Saar’s post, Prévot wrote, “Enough with these caricatures.”
“Since you yourself recently urged against conducting diplomacy via Twitter, I suggest that we discuss all these issues during a meeting in Israel at a time that suits you best, in order to put an end to any misinterpretations,” Prévot continued.
This article originally appeared on JTA.org.
The post Israel, US condemn Belgium over planned prosecutions tied to Jewish circumcisions appeared first on The Forward.
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Rutgers disinvites commencement speaker over tweet claiming Israelis ‘train dogs to sexually assault prisoners’
(JTA) — Administrators at Rutgers University have canceled a commencement speaker scheduled for next week, citing an “inflammatory claim” the speaker tweeted about Israel.
Rami Elghandour, a Rutgers alumnus and a producer of an Oscar-nominated docudrama about a Palestinian girl who died in Gaza, was set to deliver the speech at the university’s School of Engineering on May 15. But the university, New Jersey’s public flagship, rescinded the invitation on Wednesday.
The Associated Press was the first to report that Elghandour’s invitation had been rescinded and that the university said social media posts about Israel were the cause.
To the Jewish Telegraphic Agency, a university representative specifically cited an April 20 tweet by Elghandour that accuses Israel of genocide and says the Israelis are “running dungeons where they train dogs to sexually assault prisoners.”
The tweet was a response to a post from California Rep. Ro Khanna advocating for cutting U.S. aid to Israel, which was itself a response to a post by AIPAC, the pro-Israel lobby that has become a bogeyman in U.S. politics. The unsubstantiated claim that Israel trains dogs to assault prisoners has circulated widely in recent weeks among some pro-Palestinian activists.
“The Rutgers School of Engineering was recently informed that some graduating students would not attend their graduation ceremony due to concerns about the invited speaker’s social media posts, including one that shared an inflammatory claim,” Dory Devlin, a representative for Rutgers University, told JTA in an email. “After discussing these concerns with the speaker, the School of Engineering has rescinded the convocation speaker invitation to Rami Elghandour.”
Elghandour, who owns a biotech company and was an executive producer for the award-winning documentary “The Voice of Hind Rajab,” declined through a spokesperson to respond to a JTA request for comment. The spokesperson pointed to his statement on social media, where he disparaged the school’s decision.
“After a ‘few’ students complained about my selection as speaker because of my social media advocacy for Palestine, Rutgers has canceled my speech,” Elghandour wrote. “They decided that the feelings of a handful of students who said that my social media posts ‘opposed their beliefs’, were more important than the experience of the entire graduating class, the reputation of the school, the dignity and belonging of Arab and Muslim students, and the First Amendment.”
In addition to executive-producing “The Voice of Hind Rajab,” Elghandour was also a producer on the film “American Doctor,” about three physicians — including a Palestinian and a Jew — who traveled to Gaza to aid civilians there.
Rutgers University Hillel, the campus Jewish group that also engages students around Israel, did not immediately respond to a request for comment.
Rutgers settled a federal civil rights investigation into its handling of antisemitism in January 2025. It agreed to update its anti-discrimination policies as investigators were poised to find that the school did not protect Jewish students from antisemitism in the wake of the Oct. 7, 2023, attack on Israel and the subsequent war in Gaza.
The incident adds to a string of dustups over Israel at commencements this year and in the past. The University of Michigan’s president apologized after faculty senate chair Derek Peterson praised pro-Palestinian student protesters during his speech on Saturday; Elghandour shared several posts in defense of Peterson’s speech.
This article originally appeared on JTA.org.
The post Rutgers disinvites commencement speaker over tweet claiming Israelis ‘train dogs to sexually assault prisoners’ appeared first on The Forward.