Interview: 6 Questions & a Plug with INDECENT's Ben Cherry

The Guthrie's staging of Pulitzer Prize winner Paula Vogel's INDECENT is the first post-Broadway, regional production and area premiere after this play with music's successful and Tony-winning run. And it's Vogel's first Guthrie production. (Read more about that here.) Rather than reiterating the story in this space, simply click over and read the review by BWW Editor Karen Bovard. (What she said.) And keep reading this 6 Questions to go more in depth with one of the Broadway cast members, actor Ben Cherry's, take on his character, the show and its importance in the world of art and the world of today. And by all means, get over to the Guthrie and see this show before it closes on March 24. You have just over a week.

From the first reading of GOD OF VENGEANCE, your character, Lemml, is taken with the story. What do you feel was it that Lemml most connected with in this writing?

Lemml walks into the literary salon filled with great minds and respected writers straight from his dusty, provincial tailor shop having never seen or heard a play. He is faced with not only the completely new concept of theatre, characters speaking in their own voice of their needs and desires, but for the first time hears the rain scene in Sholem Asch's the God of Vengeance. The two girls expressing their connection and love for each other in the rain transforms Lemml immediately. He finds a place in their encounter where he is no longer the odd man out and his expectations and desires in life are instantly clear... to live and breathe his new salvation for the rest of his life by attaching himself to this earth-shattering work of art. He is determined to preserve the tenderness, the truth and the intensity of the first love that these two girls share and he walks through life after a changed, purposeful man.

Throughout the play (INDECENT), Lemml is the only character who is played by the same actor from beginning to end. Was there really a Lemml who worked with Sholem Asch on his show from the beginning in 1906 through the trial in NYC in 1923? If not, is your character more of a device or a thread running through the story?

Although many of the characters in INDECENT are derived from historical fact, Lemml is Paula Vogel's creation. With the swirling politics of Jewish identity, censorship, immigration, artistic integrity, patriarchy and sexual politics that INDECENT deals with, Lemml holds the heart of the piece. He believes in the shimmering brilliance of what he knows to be the artistic masterpiece of his lifetime and lives a full character arc from his 20s through his 50s motivated by the love and respect he holds for this great play (The God of Vengeance). His journey gives the audience the emotional arm to hold onto through the twists, the jumps and historical upheaval of Paula's layered, fascinating, genius play (INDECENT).

Paula Vogel took seven years to write this play and yet it seems very of the moment with the current events that include a rising nationalism and distrust of immigrants, even though the love affair between the women is perhaps a bit less shocking in today's age. Did the members of the cast talk to Vogel about how current events may shape the performances? What of the world of today did you bring to your role?

Most definitely Paula recognized how relevant to our times her play had become since she began working on it with her co-creator, Rebecca Taichman, to it's opening on Broadway in April 2017. There were certain passages that were rewritten and tweaked during the Broadway rehearsal process to further highlight the current immigration debates here in America. History is constantly repeating itself so the Europe and America of the first half of the 20th Century in Paula's play feels so immediate, so now. Because Lemml is the walking ID of the piece I didn't feel the need to consciously bring anything from the modern world to my portrayal, only because I think his essence and belief in love along with Paula's richly human and timeless writing for the character lets us all see ourselves in him.

How have audiences received INDECENT in Minneapolis so far? And have you noticed any differences or changes since the Broadway production (of which you were a part)?

Minneapolis audiences have proven to be fantastic: thoughtful, intelligent, deep listeners. It is glorious to hear them breathe with the piece and in concert with its journey. They prove nightly that they are up for the rewarding challenge of this deeply layered, fascinating and moving play. The standing ovations are testament to director Wendy C. Goldberg's vision and patient, encouraging work with this top notch group of actors I get to share the stage with nightly. Though there are a few differences in the reactions between this and the New York production--certainly the NYC references and jokes got a few more laughs from the Broadway audience--the palpable impact as evidenced in the sustained, absolute quiet throughout the last half of the play is no different at the Guthrie than it was in New York.

Lemml really lashes out at the idea of Asch censoring his own play. Today it feels like nearly anything goes on stage, on screen and in politics. Can you talk a little about the ideas of censorship brought about in this play and how you feel about it as a modern actor?

As strange as it may sound, as a modern actor, I find myself somewhat comforted through my exposure to this play, to be reminded that humanity has struggled with these rich and difficult issues before (censorship, immigration, religion) and that we'll also likely continue to carry the struggle forward into the future as well. Difficult problems are not easily solved. I am therefore quite thankful and hopeful that as artists we keep digging in and exploring these notions through the richness of the theatre.

With all the actors (except you) playing multiple roles and with the characters going in and out of time periods, Yiddish and English, there is a lot to keep up with and the hour and 40 minutes moves fast. Is this show a challenge for the cast to keep up and remember who you are and what language you're speaking at all times? (For people who have not yet seen INDECENT: when speaking in "Yiddish," the actors tend to change accents slightly but still speak English with super-titles above the stage indicating what is being spoken.)

Paula has mapped out the text in such a way that the weaving of languages and dialects throughout feels natural and necessary. We all studied the script intently and found our own way through the jumps and I think the result is exactly what Paula intended: to make the audience feel like they too speak Yiddish. It is a marvelous feat. Speaking the English language versus the speaking of one's native tongue when communicating in America is a theme that runs throughout INDECENT and for me is one the more interesting aspects I get to explore through the role of Lemml. I enjoy both celebrating the character's roots and history as well as having the opportunity to portray the Immigrant's struggle to belong and thrive in this country.

What will you be doing next on stage or off? Will Minneapolis audiences see you again?

I start my next job literally the day after I arrive back in New York City from Minneapolis working on a new musical called GOLDSTEIN, which will play an open-ended run off-Broadway at the Lamb's Theatre. In so far as my future in Minneapolis? I would be thrilled and honored to have another opportunity to once again play on the stages of the Guthrie or any of the stages of this city to get to work with the rich and talented community of artists fostered within this bustling, thriving theatre community.

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More info:

Ben Cherry - bio and more: http://www.bencherry.com

INDECENT closes March 24, 2018 at the Guthrie's Wuertele thrust stage - get tickets now and see this area premiere while you can. https://www.guthrietheater.org/shows-and-tickets/2017-2018-season/indecent/

Photo: Courtesy of Ben Cherry.

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