Review - The Scottsboro Boys at The Vineyard Theatre

One of the undisputed highlights of my recent theatrical jaunt to New York City was the "new" Kander and Ebb show, The Scottsboro Boys at the Vineyard Theatre. I say "new" because, of course, the great Fred Ebb died in 2004, although he left quite a few works in progress behind him, including Curtains, The Visit, and All of Us.

The Scottsboro Boys constitutes a triumphant reunion of most of the creative team behind the delightful and underrated Steel Pier, including Kander and Ebb themselves, as well as librettist David Thompson, and choreographer Susan Stroman. Stroman also performs directing duties here (Scott Ellis directed Steel Pier), and The Scottsboro Boys represents a decided return to form for Stroman after the execrable Young Frankenstein and the ambitious but disappointing Happiness.

Thompson and crew have conceived The Scottsboro Boys as a minstrel show, telling the true story of the "Scottsboro Boys," a group of nine African American men falsely accused and convicted of rape in 1931 Alabama. The minstrel show concept works stunningly, reclaiming this derogatory show form as a tool of empowerment and illumination. The show only uses actual blackface once, and very briefly, but the effect is devastating.

The Kander and Ebb score for The Scottsboro Boys is miles above their score for Curtains, and includes a tuneful array of period numbers, from cakewalk to Bert Williams ballad. Stroman uses dance sparingly but effectively, particularly in the horrifyingly sprightly "Electric Chair" tap number.

And the cast is simply outstanding, including the great John Cullum, who serves alternately as emcee for the minstrel show and judge for the trial. Also on hand are Colman Domingo and Forrest McClendon, two talented African American actors who act as Cullum's minstrel cohorts, and play a variety of deliberately cartoonish white roles throughout the show. (The precise relationship among these three roles could use some clarification.) The standout among the "boys" themselves is Brandon Victor Dixon in the pivotal role of Heywood, and Dixon proves he's capable of far greater things than his admittedly strong performance as Harpo in The Color Purple would have us believe.

Not every element is working at this stage in the show's development. The meaning and purpose of some of the numbers aren't quite clear, including "Commencing in Chattanooga," which the men sing on their fateful train trip. And the yuck-yuck minstrel jokes aren't really landing. Perhaps they're not meant to, but at this point most of them come off as lame. But on the whole the show is remarkable, both rousing and sobering: a heartbreaking retelling of a notorious and shameful miscarriage of justice.

The Scottsboro Boys runs at the Vineyard until April 18th, but the run is completely sold out. The Vineyard Web site has an announcement that the show has its "eyes set on Broadway," and offers patrons the chance to sign up for ticket-offer notifications. Now that Lips Together, Teeth Apart has been canceled, and both All About Me and The Miracle Worker are closing, there are increasing odds that the show might actually make it to Broadway, perhaps this season.

If there's any justice, that is.

GRADE: A minus (Could be a masterpiece, with a few tweaks)

Comments

[www.facebook.com/profile.php?id=653593095]

I didn't know Cullum was in it! Well, say no more.

[Geoff]

I had the very good fortune to see this show on Friday, April 9th. I was completely blown away by the quality of the writing, the inventiveness of the staging, and the intensity of the performances. The score is incrdibly tuneful and ranks as first-rate Kander and Ebb. Chris, I think you could easily consider adding "Go Back Home" to your list of the 100 most beautiful theatre songs. So touching, but then I'm a sucker for most any song about unfulfilled longing.

The conceptual design of the evening (i.e. the minstrel show) strikes me as a somewhat dicey proposition which could have gone horribly awry in the wrong hands. Fortunately Stroman and company handled it expertly, if somewhat incompletely, and it culminated in one of the most devastingly effective finales I have ever witnessed in 30 years of watching musicals on the New York stage. Bravo to the creators for not only having the vision to tell this inflammatory story, but also the courage to stick to their creative guns and exploit a narrative device which profoundly disquiets us even as it sets our toes tapping.

I had an opportunity to speak with John Cullum after the show and he confirmed (before the official announcement) that the show would indeed have a life after the Vineyard, first at the Guthrie and later on Broadway. I was devastated to learn, however, that he would not be joining the show for its Guthrie engagement. Mr. Cullum indicated that he did not wish to leave New York and spend any time away from his wife. I'm not sure if this means he will not be a part of any future Broadway engagement, but to me the show seems unimaginable without him. I hope a solution can be found. In the interim, I look forward to the forthcoming cast album.

[ccaggiano]

Geoff: Glad you got a chance to see Scottsboro Boys. I greatly look forward to seeing it again and to witnessing how the show evolves. For me, it's easily the most effective and stirring musical that I've seen this season. And I agree that the minstrel framing device is visceral in its impact and effectiveness.

As for John Cullum, I'm very fond of him and his work, but I genuinely think the show could work without him. Perhaps he'll rejoin the show once it hits Broadway next season.

Regarding "Go Back Home," I remember being quite moved by the song in performance, so I think it would make a fitting addition to my list. I'll have to give it another listen when the cast recording comes out.