Review - The Scottsboro Boys on Broadway

I'm often struck by the preconceptions people have about musical theater. For many people, musicals are only supposed to be fun and tuneful, and that's basically it. Anything that transgresses these confines couldn't possibly be a musical, at least not in their narrow estimation.

Well, these people would probably hate The Scottsboro Boys, which is a tad ironic, because it's one of the most tuneful shows in many a season. But beyond the deceptively pleasant nature of John Kander's music are the late Fred Ebb's alternately searing and simple lyrics, as well as David Thompson's indignant and incisive book. One of the hallmarks of the long and fruitful careers of Kander and Ebb was demonstrating the power of the musical to go beyond mere entertainment into the realm of human drama and social relevance. And, on that front, The Scottsboro Boys represents a fitting cap to a productive and groundbreaking partnership.

I was fairly blown away when I saw The Scottsboro Boys at the Vineyard Theatre. (Read my review of Scottsboro Boys Off Broadway.) The show has since played a stint at the Guthrie Theater, but I didn't notice any major changes to the show itself, other than maybe clarifying some scenes, and a bit of recasting. The authors have decided to retain a certain historical framing device, which they had originally asked critics not to reveal in their reviews, but have subsequently begun revealing it themselves in certain promotional materials. I will, however, maintain silence on this front, as the revelation significantly increases the impact of the show.

As you may know, the show is a stylized retelling of the story of the "Scottsboro Boys," a group of nine African American men falsely accused of raping two white women on a train in 1931. In keeping with the longstanding Kander & Ebb tradition of "concept" shows, the creators have conceived The Scottsboro Boys as a minstrel show, including a stunningly subversive use of blackface. The result is an upsetting but emotionally cathartic show that is frankly hard to sit through, but not because of any lack of talent on the authors' part. It's just not a very proud moment in U.S. history.

Although the show clearly places the blame for the Scottsboro tragedy at the feet of Southern racism, the authors are careful not to let the North off the hook. In the guise of the Jewish lawyer who takes on the Scottsboro defense, the show sends up both the anti-Semitism of the south and the patronizing attitudes of the northern liberals.

Director/choreographer Susan Stroman and librettist Thompson have worked closely with Kander & Ebb (the latter in absentia) to create "entertaining" interludes throughout the show to keep it from becoming a preachy, depressing dirge. I was reminded of the daring and controversial nature of The Scottsboro Boys when a man seated in front of me at the Lyceum got up and left during a stunningly conceived number called "Electric Chair," which employs the racial stereotypes of tap dancing to illuminate the horror of a child's nightmare. Yes, it's shocking and offensive. It's meant to be.

The show retains some of its admittedly minor flaws. I still find the number "Commencing in Chattanooga" inscrutable. The tune is pleasant and certainly sets the scene, but the lyric is uncharacteristically opaque for Fred Ebb. The result is an uninspired "wanting" song, a rare misstep in an otherwise powerful and provocative show. The stunning finale thankfully retains its power to astound. Even though I knew it was coming, the raw shock of the moment once again had me numb and in tears.

The Broadway cast features many of the same performers from the Vineyard run, including the great John Cullum as interlocutor and emcee, as well as the formidable Colman Domingo and Forrest McClendon in protean roles throughout the show. The major cast change is Joshua Henry in the central role of Haywood Patterson. Henry brings great strength to the role, but I didn't find him nearly as emotionally compelling as Brandon Victor Dixon, who played the part Off Broadway.

A bunch of my students from the Boston Conservatory are headed down on a school trip to New York City next weekend. As part of the package deal, they have the option of seeing either La Cage aux Folles or The Scottsboro Boys. As fond as I am of the current production of La Cage (read my review), I've been recommending that students see The Scottsboro Boys. And anyone who cares about the future of musical theater will want do the same.

Comments

[XtianBaines]

Loving what I've heard/seen of this. Hopefully it's still running in May when we're in NYC. Sadly, I don't see it being picked up in Australia anytime soon.

[Robert]

I am worried that this show will fall into the trap that happened to the original run of Chicago. While not a bad run, the show hurt from the fact that it *was* offensive in the worst way: it made people look into themselves and see their flaws. I sincerely hope that The Scottsboro Boys manages to overcome the stigma attached to the events it depicts and is able to reach, at the very least, a critical high-point. Certainly, Kander and Ebb deserve it.

[ccaggiano]

It's entirely possible. I was just talking to my students today in class about how visionary shows don't always achieve the audience they deserve in their initial incarnations. But the show is out there spreading an important message, and doing it in an astoundingly artistic way. In a way, that's a victory in itself.

[Andy P.]

How does it compare to PARADE, in terms of presenting another "not one of our greatest moments in human history" as a piece of theatre? Frankly, I find PARADE hard to sit through for the same reasons you describe.

[ccaggiano]

You know, it's funny, I was just talking about the comparison between Scottsboro and Parade this morning with my students. Scottsboro is *far* easier to sit through than Parade. There's a lot more "entertainment" dispersed throughout the show to liven up the proceedings and prevent it from becoming too dire. And the denouement for Scottsboro is considerably less grim, although in the long run no less tragic. It's funny how similar material can be so much more palatable -- and ultimately effective -- based on the right presentation of the material.

[harkness]

well while i thought the overall production value of the show was wonderful, i found the direction lacking. i did not find it hard to sit through and i wanted it to be. when i woke up the next day, the first thing i remembered about the show was two of the dance numbers. to me, when bringing a piece of this sort back and presenting it in the chosen format- that's not the first thing i should remember. the singing and dancing should be secondary.

as to the story line, we all know what the outcome is gonna be, and while everyones reactions are gonna be different, when the verdict is given, what i heard through the audience the night i attended was "awwww". really? 'awww' should not be the general feeling at that moment in the piece. it's wonderful that the minstrel was done quite faithfully (the choreography is quite good) and the songs were all sung beautifully, but at the end of the day- what is the point of bringing this type of show back if you aren't going to really focus on the story? minstrel is no longer shocking, unless you go back and look at the actual footage when it was being done as a mockery. what should still be shocking is what those nine boys had to endure as well as countless other men of color.

mr. henry does a very nice job of staying rooted in "reality" but i feel that the rest of the men also needed to be directed to do the same. what happened instead was a lot of "slave eyes and acting", the thing people expect to see from black actors in that period. big eyes, big acting. problem for me is that, when they shifted into one of their other "roles" there was no real shift. if they'd been directed to take the situation they are portraying and how would they react within that now (because in some places in the u.s. it still could happen) and start from there. just be honest and real with the character work, the contrast would have been wonderful. it would also keep the focus on what's really important- the travesty of the situation and the fact that given that this was in the mid 1930's-- it hasn't really been that long ago. a fact which is presented but lost because it is done in a comedic way.

i think it's an important piece of theatre, given where we are today not only politically but socially. i hope the masses are truly able to see past the glitz and focus on the truth.

[Kathy Boyce]

The original production of Chicago was the first show I saw on Broadway. I loved it. I have seen several productions of it since, including the recent revival and the production at NSMT several years ago.

I also saw Parade at LC, and thought it was a very well done show, and sorry it wasn't better received.

I'll see Scotsboro Boys in December. I expected it would be as grim as Parade, but perhaps the fact that it isn't will help keep people going. There is a fine line between a serious show, and one that is so realistically presented that no one will go. There needs to be something to keep people in the seats, or they won't be there long enough to see the serious part. It sounds like this show has that balance.

[Esther]

I was bowled over by The Scottsboro Boys. It was powerful, tuneful, thoughtful, entertaining in the best sense of the word. I thought the minstrel show was very effective as a way of illuminating the racism - and anti-Semitism - of the era. It's the white characters who are lampooned.

The times when the Scottsboro boys are performing the big ensemble numbers, like the opening number with the tambourines, I was torn. I didn't know whether to smile or applaud. In the world of the musical, these were black men being forced to put on a show. Thrilling to watch but uncomfortable at the same time. And that's the point. Same thing with the blackface - it was stark and startling, a raw and honest representation of the time period.

And there's an important distinction between how the black characters are portrayed when they're performing as opposed to when they're by themselves, in their jail cell. At those times, I think David Thompson does a very good job making them individuals, treating their stories with dignity and compassion.

Plus, the song "Go Back Home" is gorgeous. I felt like I was listening to a classic.

[ccaggiano]

Esther, my love, you're becoming so much more erudite as a critic. It's wonderful to watch. You're digging down deep beyond your personal reaction and discovering the "how's" and the "why's" of theater.

Keep it up, my dear, And Happy Thanksgiving.