BLOG JACK: Brantley on the Empty Stage

Today, I read September 8th's Theater Talkback by The New York Times' Ben Brantley with some interest.  It is called "When a Bare Stage Fills the Theatre."  I was particularly drawn to this article because, as any of my theatre-going friends will tell you, my mantra for theatre is "Always remember that the Greeks did it on a stone slab with a mask, the sun and a toga!"

I say this very thing when we can't agree on the quality of a new show.  Would this show ultimately be as good if it were stripped down to the actors on the stage and nothing else?  Are the words and performances enough to engage the audience and entertain them? 

• This discussion happened several times this past Broadway season.  Needless to say, it was shows like Women on the Verge of a Nervous Breakdown, Spider-Man: Turn Off the Dark, both of which I saw early in previews, and before the ensuing onslaught of press for both shows.  And we agreed that as it was, The Scottsboro Boys - devoid of fancy costumes and scenery, but full of theatrical ingenuity - proved my point exactly.

I say this when we wonder if the show is a triumph of staging and spectacle over story.  Does too much of the meaning rely on the visual created by the designers, the choreographer and the director?  Or has the director and choreographer done enough, that if stripped of lights, scenery and costumes, and only the script to rely on, to still give us a full show?

• My mantra reared its sage head once again when we discussed Wonderland - the answer? No.  In fact, it was so over produced that it all but obscured the story and characters.  And again with The Book of Mormon - the answer? Absolutely.  That show would still be as funny, poignant and entertaining if the Eugene O'Neill Theatre had a blackout and all the costumes and scenery were stolen.

• I recall the oddest experience of my theatre-going life.  In 2002, the Box Office Union was on strike at a theater that hosts national tours.  I don't remember the exact politics of it, but it boiled down to this:  an agreement was struck, but too late for everything to be loaded into the theatre for that week's first show.  Actors Equity allowed the performers to go on, while the ITASE unions told its workers to do as much as they could to help, but and not unload the sets, lights or costumes until that evening.  The show was 42nd Street, a show that definitely relies on the visual spectacle of lavish sets, lights and costumes.  Dying to see how it would play out, and with nothing to lose (I could not exchange my tickets for another performance that week), I stayed and watched the show on the very bare stage, on/off lights and street clothes of the performers that my mantra speaks of.  Imagine the opening number or "We're In the Money" without tap shoes, or "The Shadow Waltz" without shadows!  And yet, watching the whole thing play out was absolutely mesmerizing.  And the story, now the focus, was actually much more interesting than I had ever remembered it being.  It is also the only show I have ever attended where the act one finale got a full audience standing ovation, and, until Patti LuPone's "Rose's Turn," the only time a mid-show number got a standing ovation, which happened after the title number.  It was exciting and an event I will never forget it.  And it was nice to have my saying validated. 

And I say this to friends who attend local, necessarily low budget, and lift their noses in their as they go in, expecting the least.  I always take great pleasure in their shock and awe when such a show is success.  Clearly, a silk purse has been made from a sow's ear.

Ben Brantley discusses several shows that benefit and thrive from a bare stage in his blog - Our Town, all of the original Globe Theatre productions of William Shakespeare's plays among them.  And he brings up Chicago's current staging by Walter Bobbie and Ann Reinking.  Boy, is he ever right!  Less is so much more in this case.  And it brought immediately to my mind the other great American musical in the long-run gallery, A Chorus Line, a show that, except for the last 3 or 4 minutes, not only thrives on a bare stage, but requires it.  For all of their spectacle and excess, would the three longest-running shows - Les Miserables, Cats and The Phantom of the Opera really have been as successful without "stuff"?  Brantley and I agree: probably not.  But it would be interesting to see Cats under the same circumstances as when I saw 42nd Street.

I disagree with Mr. Brantley more often than I agree.  But he and I see eye to eye on this point:  good acting and thoughtful staging coupled with a good script can be as magical as a stage full of scenery and actors flying right over our heads.



Rate this blog below, leaving your comments here, by email at jkstheatrescene@yahoo.com, or Tweet me!
Jeff
3.012

YouTube on Broadway: 2011 Tony Nominees, Part II

The other day, I began this series of blogs by taking a look at The Book of Mormon and Catch Me If You Can's commercials, post Tony nominations.  Today, I will take a look back at the other two nominees for Best Musical:  The Scottsboro Boys and Sister Act.

The Scottsboro Boys

Long gone after 49 performances in the early fall of 2010, it is a real testament to the quality of this masterpiece of musical theatre that it garnered 12 Tony Award nominations, each and every one (and probably more) due.  For my money, it truly was the very best musical of the season.  But, like their other masterpiece, Chicago, it may take mainstream audiences a decade or two to catch up with Kander and Ebb.  And, as my friends will tell you, I am quick to dismiss Susan Stroman when she gets a little too full of herself (The Producers, Young Frankenstein) as I am quick to jump on her bandwagon when she does the work of a master (Crazy for You, The Scottsboro Boys).  I think her attention to the tiniest detail here is what separated her work from the rest of the pack this season.  Alas, attention to detail is hard to reward when one must rely upon months old memory and/or even the best of video copies.

Fortunately, this same attention to detail pervades the television commercial for the show, about which I wrote back in October: "I think this brilliant ad speaks to everyone: the music and joyous jumping/dancing, along with the references to past shows by Kander and Ebb should really appeal to theatre goers; the cast should get more men to at least give it a second look, after all, how "prissy Broadway musical" can a show with all these guys be?; and the striking use of violent headlines projected like whipping scars on the backs of black men should ignite a spark in any American who has ever felt that injustice wins out far too much. These days, that universally American feeling might just sell this complex and controversial show. Not having seen it yet, I can't speak to how well it reflects the show it is advertising, but as a commercial it does its job for this viewer: I am intrigued and excited about seeing this new show. Easily the best TV spot for a Broadway show this year.  Grade A+"  Despite the ultimate failure of the show as a commercial Broadway venture, I still stand by every word.

Sister Act

Of the four Tony nominated musicals, I reviewed Sister Act the lowest.  But that does not take away from the fact that, as musical theatre entertainment, it isn't grade A.  A feel good musical in the finest tradition, I laughed heartily throughout, loved the humor of the book, and I still marvel at the authentic 70's sound of the score.  And, yes, those were tears of musical theatre joy in my eyes.  How could you not be thrilled and happy by the time those crazy nuns get done their finale?

So how does their 30 seconds in TV land compare?  Will it draw audiences?



Well, it certainly should!  From its tabloid like beginning, which catches your immediate attention, to the clever quotes drawn from reviews that play on funny religious puns to the announcement that the show is up for 5 Tonys including Best Musical, this commercial gets all of the words right.  It's background music, "Take Me to Heaven," one of the show's brightest, catchiest tunes is also a good choice, not just for its catchy brightness, but also because it tells you that the score is not a rehash of the film soundtrack.  And visually, it is perfect - a blend of scenes that remind you of the beloved film, rapid cross cutting of nuns on the run from bad guys reminds you of the zaniness of the vehicle, and there are just enough cross cuts of Deloris and Mother Superior emoting to remind us of the real heart of the story.  In 30 seconds, you get a real feel for why the movie is so beloved, and best of all, a reminder of why you need to see this funny, lovable show.  What more can you ask of a commercial?  (P.S.: This is the first thing I've seen, advertising-wise for this show that doesn't draw attention to producer Whoopi Goldberg, beyond her name, along with the Broadway production company name, showing up briefly of the show title.  And good, too, that the voice over doesn't mention either the film or Ms. Goldberg.)  Grade: A


Coming up in this series: The Tony nominated Musical Revivals and the Plays.



Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.270

CD REVIEW: The Scottsboro Boys

In a fairer world, where every show gets an equal shot at success and failure, with producers who stick with, rather than feel obligated to, a show that they've put money up for, and with a public that not only demands more challenging theatre, but supports it when it comes along, The Scottsboro Boys would not only still be running, but it would be garnering press at a rate like Spider-Man, and be generating ticket sales like The Book of Mormon.  Every season, when people do their inevitable re-cap of the shows that played, the hue and cry for more shows with substance goes up.  EVERYONE agrees: more shows that have something to say while they entertain us, PLEASE.  And yet, when shows come along that challenge, people stay away in droves.  Just ask Stephen Sondheim, who has yet to have a show run over 1,000 performances, and he is the gold standard when it comes to challenging entertainment.

Now I haven't yet seen all of the musicals of the 2010-2011 season, but I can say that The Scottsboro Boys is so far the one to beat on all levels: the staging, the acting and the book and score.  that it has substance is indisputable.  That it is challenging theatre is also.  And I will venture to say that the score is the best not just from this season, but for the last several seasons.  Knowing their track record with Cabaret and Chicago, a show of the same ilk will likely find even greater success in a decade or two when someone comes in and revives it, highlighting the sublime pleasures and amazing quality of the piece.  What was the last show you left feeling that you were somehow a changed person for having had the experience?  I just pray that the Tony voters don't overlook this brilliant little gem.

Title: The Scottsboro Boys
Artist: Original Off-Broadway Cast Recording
Label: Jay Records
Number: CDJAY 1421
Format: Single CD
Case: Jewel Box
Booklet: Full color production photos; Complete lyrics; Liner notes

What I said about the production itself: "I can count three times in my more than twenty-five years of attending Broadway shows where I held my breath during an entire performance.  The third was the show that opened last night at the Lyceum Theatre, The Scottsboro Boys.  With an eye toward a 21st century audience, Kander and Ebb's lyrics, David Thompson's book and Susan Stroman's choreography and direction, all have conspired to give the minstrel show a modern edge. Things are heightened and exaggerated well beyond the minstrel milieu, the jokes are pointed and razor sharp so there is no ambiguity as to the meaning, and the staging is ultra-modern, spare, tight and endlessly creative. All of these elements, have, naturally, been studiously kept in check so that the minstrel show tradition is honored (I'm not sure if that is the right word), but also used to bring out the deeper and more insidious themes of the history it is telling. In short, the frame here is a device to make us relate to the story in a musical way and to not lessen the blow of all of the "ugly" we are presented with, but to trick (again, maybe not the right word) us into learning as we are entertained. As the tag line says, 'Entertain the truth.'  So complete is the package, it is really difficult to single out any one or two elements or persons as to the reason why this is one of the best new musicals of recent memory.  The show started with a breathtaking silent few moments, and ended with the same silence. Before the lights were completely down, we, transported and changed, numb from the journey, stood as one. Only then did I exhale."

A note about this recording:  Especially considering the show's quick Broadway demise, I am just grateful that a recording was made at all of the score.  This represents the show as it stood during its off-Broadway premiere at the Vineyard Theatre.  Some cuts, tweaks and minor additions were made en route to Broadway, and it would have been nice to have those as well, but again, I am not complaining.  And, unfortunately, for the actors in both productions, some were in the off-Broadway production and not in the Broadway version and vice versa.  Three of the off-Broadway cast members did not make the transfer: Sean Bradford, Cody Ryan Wise and Brandon Victor Dixon.  They were replaced by, respectively, James T. Lane, Jeremy Gumbs and Joshua Henry.  No slight is intended to Mr. Dixon, Wise or Bradford, all of whom do excellent work on the recording, but I specifically enjoyed the Broadway performances of Lane, Gumbs and Henry, and would love to have had their performances preserved.  That said, had I not seen the Broadway production, the recording is still absolutely top notch.

What I said about the score: "Is it Kander and Ebb’s score (with orchestrations by Larry Hochman) that magically matches tone and style to the wide variety of emotions the story demands? Yes. They have written one of their best scores ever with perhaps the widest range of any show they’ve done since Cabaret. The jaunty opening number, “Hey, Hey, Hey, Hey!” is a toe-tapper to be sure, and the plaintive power ballad “Go Back Home” is the kind of no holds barred tear-jerker/call to arms not heard on Broadway in years."

What I have to say about this recording:  SUPERB!  Top quality sound, beautifully engineered orchestrations and balance are just the beginning.  Really, with the exception of some stunningly beautiful stage images created by Susan Stroman, the recording does a remarkable job of transforming a listening experience into an all-senses experience.  The cast sings and, perhaps more importantly, acts each number as if they were doing the show.  And because of that, much of the satirical, pointed bite of the show remains as sharp as ever.  John Cullum fairly drips Southern charm and nastiness all in the same breath, and Colman Domingo and Forrest McClendon are absolutely riveting (and a whole bunch scary) as the minstrel show men, Mr. Bones and Mr. Tambo.  All of the cast sings wonderfully, and Brandon Victor Dixon's rendition of "Go Back Home" is as stunning and heartbreaking on the recording as it was live under the care of Joshua Henry.

Standout numbers include the aforementioned "Hey! Hey! Hey!", "Go Back Home" and "Commencing in Chattanooga."  One can't help but be peeved at "Alabama Ladies," and "Make Friends with the Truth" is as meaningful as it is charming.  In truth, the whole score stands out. There isn't a sub-par number in the bunch.  And John Kander's "Go Back Home", a bonus track on the CD, is touching and sad. 

I'm sure the late Fred Ebb would have been so thrilled with the entire thing.

Grade: A+


(Photos of the Broadway production by Carol Rosegg)



Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me.
Jeff
2.220

Broadway News Makers #6 and #5: New Broadway Writers Welcomed and Legends Protested

The news makers at numbers 5 and 6 run the gamut from true Broadway legends to complete Broadway newbies.  The legends in question are John Kander and Fred Ebb, whose storied career has never ventured into the easy or non-controversial - celebrating murderers (Chicago), glamorizing Nazi Germany (Cabaret), homosexuality and the South American prison system (Kiss of the Spider Woman).  Their final (to date) new Broadway offering might even seem a bit tame in comparison: the true story of The Scottsboro Boys, who were wrongly accused and imprisoned in the Jim Crow South for allegedly raping two white women.  Straight forward history, right?

Well, sorta.  Using their tried and true "frame the story with out of reality, though timely, 'entertainment' pieces" is what got these legends in a bit of hot water.  Timeliness, in this case, meant framing the story as a minstrel show, which is pretty controversial.  Controversial enough that the Freedom Party formed a protest group outside the Lyceum Theatre, handing out literature that encouraged audiences to stay away due to the shows overt racism and use of black face.  After reading the "literature," it was pretty clear that most if not all of those protesters never even saw the show.  How fitting that a show about an actual historical event caused protests, just as the event itself did, decades ago!

Read more about that protest HERE.

The news makers at number 6 on the list all probably hope that they have as storied and controversial  a career as Kander and Ebb.  I'm talking about the influx of fresh writing talent on Broadway this year.  Fresh, with exciting idioms within which they operate, boundary-pushing formats and ideas - something Broadway fans always swear they want to see more of.  Unfortunately, so far this season, these new ideas, while critically acclaimed, aren't setting the box office on fire and some are meeting untimely and speedy deaths.

Playwright Geoffrey Nauffts (left) rehearses his

play, Next Fall, with its director, Sheryl Kaller

Two plays come to mind: Next Fall and Brief Encounter.  The former, critically acclaimed across the board, was the first effort by playwright Geoffrey Nauffts; the latter also critically acclaimed, the first Broadway effort by writer/director Emma Rice, who shaped two Noel Coward works into a wonderous production that sets new standards for creativity and flair.  Next Fall closed pretty quickly, especially after going Tony-less.  But Brief Encounter has had its limited run extended and has recouped its investment, though it is hardly the sell out crowd pleaser it really should be.

A scene from Bloody Bloody Andrew Jackson

From off-Broadway to Broadway came the daring, boundary-pushing "emo rock musical" Bloody Bloody Andrew Jackson, and unlikely show about the corrupt life of our 7th President.  Timely and timeless this fast-paced comedy with frentetic direction, an edgy book (both by Alex Timbers), and edgier score (by Michael Friedman).  The critics loved it, a new Broadway star was minted in the name of Benjamin Walker, amd still, the crowds have stayed away.  The show will close January 2.  Let's hope we hear more from Timbers and Friedman.

Of course, there are a few exceptions, too.

Chad Beguelin and Matthew Sklar at the

opening of Elf: The Musical

One such pair has a second show on Broadway that will probably be back eventually, and is closing despite boffo box office due to its holiday theme and limited engagement status.  I am speaking, of course, of Chad Beguelin and Matthew Sklar's Elf: The Musical that is drawing people to the Al Hirschfeld Theatre in droves.  Like their previous outing, The Wedding Singer, the new show is based on a popular film.  And also like their previous outing, they are demonstrating an uncanny knack of writing in the style of a certain time period/genre, while still making both scores seem fresh - the 80's style of The Wedding Singer and the family-friendly/Broadway razzle dazzle style of Elf both work very well.

Composer David Bryan (far right) with Memphis

co-stars Chad Kimball and Montego Glover

And there is the Broadway debut of both Joe DiPietro (lyrics) and David Bryan (music), whose show, Memphis nabbed Tonys for Best Score and Best Musical.  True neither are complete musical novices - DiPietro has had a few off-Broadway hits, and Bryan is in a little rock band called Bon Jovi.  But both brought a new musical - a hit one, at that - based on an original idea to Broadway.  And that is news worthy.

Green Day: Billie Joe Armstrong is

top, left

Somewhere in the middle would be Green Day, who collaborated with Michael Mayer and Tom Kitt to bring their hugely successful album (plus a few sings from others) American Idiot to the stage.  The overall reviews were mixed, but nearly everyone agreed that this was a fresh voice and a new frontier for Broadway.  Largely ignored during awards season, the show has struggled with perpetually low box office numbers and grosses.  It sems the show only hits its numbers when lead singer of the group, Billie Joe Armstrong appears in the show as St. Jimmy.  He will be returning this January, in hopes, one assumes, that profits will once again be on the rise.

Click on the REVIEWS tab above to see what I had to say about The Scottsboro Boys, Bloody Bloody Andrew Jackson, Next Fall, Brief Encounter, Elf: The Musical, Memphis and American Idiot.

Comments?  Leave on here, Tweet me or email me.
Jeff
2.112

Ask Jeff...

Today, I thought I'd address some of the emails I've gotten over the past few months, sharing your thoughts and ideas and answering some of the questions that come up time and time again.  And coming tomorrow a special answer to a very personal question...

Before I start, though, I'd like to thank everyone who takes the time to leave a comment here on the blog, or emails me or Tweets me.  And special thanks to my 13 "Followers."  Even when we disagree, I love it, because I love to talk theatre and it is even more interesting with multiple points of view.

Here are some FAQs that I get, and my answer to them:

Q:  Do you really answer every email, comment and Tweet?
A:  I answer every relevant comment or question I get.  It may take a few days, but I get to every single one.  By "relevant" I mean comments or questions that actually have to do with the blog or theatre in general.  I do not post mean comments directed at me, other commenters or specific actors.  Recently, I've been called every name in the book by people with a problem about me selecting Joshua Henry as  Mr. Broadway November, and my opinions about The Scottsboro Boys and any related issues.  It makes me mad and it does hurt.  But I'm not going to address that kind of thing past these three sentences.

Q: How old are you?  Sometimes you sound really old, and other times like a kid.
A:  Um, thanks, I think...  Let's just say I've been 29 for more than a decade and leave it at that.  Of course, if you really read my blogs carefully, you could figure it out.  And I'm going to take the "old" to mean knowledgeable about shows that opened before Bill Clinton was president.  And the "kid" part as you all identifying the gleeful exuberance I express when I am really jazzed about theatre.

Q:  Why don't you ever write about [insert show title or Broadway star here]?
A:   Let me use a current show as an example.  I don't write much of anything about The Pee-Wee Herman Show because, as the reviews verified for me, you really have to know the old Saturday morning show of his to really appreciate the wonders of the stage production.  I was a grown up when that came out, and I don't have kids who watched it.  Therefore, it is out of my range.  I wish I knew more about specific plays (as opposed to musicals) so I could write more about those.  I have made an effort to see more plays, but money is tight and I'd rather spend what I have on my passion, musicals.  That is not to say that I don't write about plays at all.  I've spent some time on La Bete, Lend Me a Tenor and Brief Encounter over the past year.  And sometimes I don't write about certain shows or stars that I have seen, because I don't really care for the show or performance in question.  Why beat a dead horse?  Sure, I could write something snarky/bitchy about Elaine Stritch in A Little Night Music, every day, but I said what I had to say about that in my review and a few other relevant times.

Q: Who is your favorite stage actor, actress and what is your favorite show of all time?
A:  What is funny about this question is that I always seem to get it after I post something about favorite actors, actresses and shows.  I always want to say, "did you READ my blog?"  But I'll be nice.  I have several favorites, and they change from day to day it seems.  Favorite actor... ever: Howard McGillin... currently: Aaron Tveit, Benjamin Walker, Chad Kimball, John Gallagher, Jr., Cheyenne Jackson and Joshua Henry.  Favorite actress...ever: Angela Lansbury... currently: Patti LuPone (though she is a forever favorite), Laura Benanti, Amy Spanger, Krysta Rodrigue, Ruthie Henshall and Michelle DeJean.  Favorite Show...ever... A Chorus Line... current shows: The Scottsboro Boys, Bloody Bloody Andrew Jackson, and OF COURSE, next to normal.

Q:  What is my beef with American Idol stars on Broadway?
A:  Geez.  I wrote one whole column on that topic, months ago, and I still get regular emails about it.  I have nothing against those folks coming to our neighborhood, so long as they bring some discernible talent to the stage.  Let's be honest.  On that TV show they spend a week perfecting about 2 minutes (on average) of a song.  I could be brilliant for 2 minutes a week.  But can they do it 8 times a week, two hours at a time?  And can they do more than wail and trill and do histrionic scales, slides and hand gestures?  Some can, some can't.  And many of them can not act.  Unfortunately, many people in today's Broadway audiences are star-struck and/or equate loud volume and long-held notes with actual quality.  That is not the case.  And doesn't it say something about the TV show that the people that don't win seem to be more successful in general?  That said, one of the best things this season so far has been seeing Justin Guarini in Women on the Verge of a Nervous Breakdown.  He is terrific.

Q: Why do you always mention Patti LuPone in TheatreScene?
A:  One, Ms. LuPone is one of our greatest living Broadway stars; two, she continues to be relevant; and three, because so many of you ask me why I do it.  It has become a bit of a joke.  But mostly, it is my love for the lady that gets her mentioned a lot.

Q:  Why don't you ever write about local productions?
A:  Well, I live in a very small, close-knit (read: in each other's business far too much) community.  And for every aspiring Sutton Foster we have here, there are dozens who really shouldn't even be in community theatre.  Harsh, but true.  And so, because I love my neighbors, I go, but keep I my mouth shut.

Q:  What is that number under your name about?
A:  This blog is 2.80 for example.  Year 2, blog number 80.  Volume 2, issue 80 if you'd rather.

By far, the number one question I get is this:

Q:  How do you find the time to write so much and every day?
A:  Well, first of all, I love to write.  So it almost never feels like an effort.  Occasionally, I won't have any ideas, and then it is a bit of a worry.  But, I find time during my lunch hour at work, or at the end of the day when things are slower.  I also write mostly late at night and on weekends - mild insomnia will do that to a guy.  But the way I really keep up with it is I work on several at a time.  As I write this, you should know that I have started and scheduled almost 15 other things.  And I add to a few each each day - I work on TheatreScene a little every day.  I've been typing on this blog entry off and on for about a week.

Here is an email that I've had for several weeks, but never got around to posting.  These are the kinds of emails I love to get!  I love it when fellow theatre lovers share their love for a show or experience they've had.  Why else do this?

This is from a reader, TS in Florida, responding to, first, the guest blogger, who wrote about the three different St. Jimmy's he saw in American Idiot.  Then, it is more about my talking about AI and the show itself.  A real fan!

"What a glorious, spot-on review of the 3 St. Jimmys! My 14 year old daughter and I have seen the show 5 times (I think we're more obsessed than you), the most recent last weekend with Billie Joe. We'd only seen Tony Vincent as St. Jimmy before then, and we think he is the most dynamic Broadway presence we've ever witnessed!  As you felt, we absolutely loved seeing Billie Joe in his creation..in fact we flew up from Florida to see him. His voice was strong and beautiful, but he did make the part very playful.  My son and his girlfriend flew in from LA today and are seeing the show tonight. I'm really disappointed they're not seeing Tony, and I have no idea who the understudy will be. I'm literally on the edge of my seat to hear from them and their reaction to this thunder and lightning of a show!

"My entire family just can't understand why this show isn't on solid ground financially. Apparently, they're only selling tickets through January. We go to a lot of Broadway shows and other live entertainment and this is the most brilliant thing we've ever seen.  P.S. My daughter is going to be St. Jimmy for Halloween!"

TS: Thanks for writing!  I'll pass on your compliments to my guest blogger, who wrote about the three St. Jimmys.  And I have to agree with you.  Every week when I see their BO numbers I am shocked and disappointed for them.  Mostly, though, it is awesome to hear from someone as excited about Broadway as I get!  Stay in touch!

This is exactly the kind of thing I love to read and share!  Please keep sending me your questions and comments.  You can leave one here, email me at jkstheatrescene@yahoo.com or Tweet me on Twitter (jkstheatrescene).  And, if you are a regular reader, please sign up to be a follower on this site!

Jeff
2.80

The Real History of The Scottsboro Boys

One of the great things about theatre for me is that while it entertains, often it teaches and inspires.  The most recent and powerful example of a musical that does all three is Kander and Ebb's The Scottsboro Boys. 

I have to admit that prior to announcements about this show more than a year ago, I had never heard of the incident (which sounds so minimizing, but certainly not intended to be), let alone the nine young men falsely accused of rape and imprisoned.  I suppose some of that has to do with the "whitewashing" of history that happens in public school education.  It is one thing to say racism and injustice were unfortunate blemishes on our country's history.  It is another thing entirely to tell it like it really was AND to put a face (or nine) on it.

(Top) Lawyer Samuel Liebowitz and the Scottsboro Boys;

(Bottom) The Scottsboro train station

(University of Alabama)

It would seem to me that the Scottsboro boys would have secured a solid place in history, right along side Martin Luther King, Jr. and Rosa Parks.  But then again it makes sense as far as revisionist history goes.  King lead televised marches and was assassinated, a hero for a cause that should have triumphantly ended in glory for all, but ended in tragedy instead.  And Miss Parks represents everything we Americans like to think we all have in us - the strength to stand up for what is right and really effect change.  The difference, perhaps, is that in Scottsboro, the roots of prejudice ran deep, elected officials had to scramble to save face, and, as a result (and despite nationwide protests), the men were still found guilty - even with a recanted accusation.

Protesters outside the White House in 1933

(University of Alabama)

Let's face it, no one, especially an elected politician, likes being made to look the fool, and woe to those who make him look that way.

Well, whatever you take away from The Scottsboro Boys the musical, there is a lot of information out there about the real boys and the event that continues to spark debate and controversy.  (Even my little blog has not gone unscathed; I simply will not post hate-filled, racist comments about me or the show.)  Garry Morgan, historian at the Scottsboro Boys Museum and Cultural Center in Alabama contacted me after one of his patrons brought this blog to his attention.

The Scottsboro Boys Museum and Cultural Center

and a display from the museum

(University of Alabama)

Yes, in Scottsboro, Alabama, there is a museum dedicated to this history, filled with artifacts of the event, displays about the boys themselves, and the accusers, the justice system and the impact this had on the national level. 

Mr. Morgan sent me two links to share with you.  First, is a link to the Scottsboro Boys Museum and Cultural Center, a website created by the University of Alabama, found HERE.  And the second is a blog of stories and articles (Scottsboro Stories) about the event compiled by Mr. Morgan and others, found HERE.  Both websites are easy to navigate and are full of a wealth of information about the museum, the boys and the state of the civil rights movement in this country. 

Mr. Liebowitz and Haywood Patterson;

Joshua Henry as Haywood Patterson

Haywood Patterson's death warrant

(iCopyright of Scottsboro Stories)

If you've seen the show and want to learn more or if you haven't yet and want to go armed with the facts, both sites are worth spending some time on.  They certainly help fill in some blanks about a part of American history that some people wish to hide or forget about.  Hiding it doesn't make the issues go away; learning more about it can cause change, and, even better, acceptance.  As they say, knowledge is power!


Feel free to leave a comment here or email me or Tweet me.
Jeff
2.78

Protests on Broadway: Is Scottsboro Boys Racist? Really?

Looks like history is repeating itself with those Scottsboro Boys now playing at the Lyceum Theatre on Broadway.  That repeat is public protest over them.  Only this time the protest is about the racism on the show, not the crime they committed.

Thanks to a Tweet I picked up from my fellow blogger Steve on Broadway, I found the following photographs that depict current events on 44th Street.  Let me preface all of this by saying that I have not seen this protest myself, nor have I heard from the protesting group themselves.  However, just as they are exercising their right to protest, I will now do the same based upon what I can see from the literature they are distributing to passersby.

From the large banner, it appears that the group doing the protesting is the Freedom Party.  They claim that the use of the minstrel show and black face is racist, and that the show should be boycotted.  Well, they are right about the minstrel show and black face being racist.  Actual minstrel shows and acts that use black face are clearly poking fun of, and are demeaning toward African-Americans.  But in saying that The Scottsboro Boys is racist is so off the mark, it would be laughable if the subject weren't so serious.

Why would I dare say that their point is off the mark?  It is simple.  I would be willing to lay down serious money that few if any of these protesters have actually SEEN the show.  For if they had, and whether they liked the show or not, the minstrel show format and use of black face to style the show and tell its story serves to do just the opposite of what they claim it does.  It points up the bigotry and corruption of the Southern justice system.  It points up not only the racist attitudes against men of color, but the anti-Semitisim felt against their eventual champion (and Jewish) lawyer.  Further, the minstrel show format as used here makes very clear that the young men accused of two heinous crimes are heroes of their people and of all Americans who crave justice and civility.  Finally, the use of black face in this production is one of the most sad and difficult things to watch.  It is the point in the show where you see the boys at their lowest point of degradation, and, as a white man myself, I felt ashamed that people like me were responsible for that kind of thing.  And, had these protesters actually watched that scene, in particular, it is with sadness, yes, but also its  triumph as we watch as each of the Scottsboro boys defiantly removes said black face, and bravely faces whatever future lies ahead for them.

A look at their flyer betrays further lack of facts.  Apparently, they have also missed the latest revival of Cabaret, in which gas chambers are chillingly brought to life during that show's final moments.  Several plays and musicals depict the horrors of the Holocaust.  And there have been several productions (plays and musicals) that have depicted the aftermath of the World Trade Center.  And in just last two weeks or so, a major cast of theatre professionals was assembled for a reading of the Broadway-bound musical, Allegiance, which is all about the Japanese internment camps.

Protests at theatres have been a long-standing tradition all over the world.  Recent history on Broadway has had anti-gay groups outside the original production of La Cage aux Folles, as well as protestors outside the 90's production of The Capeman.

I am so proud to live in a country where people with a thought to share are free to express it by gathering like-minded folks, waving banners, chanting chants, and passing out literature.  Really, I am.  And I applaud this Freedom Party for taking a stand.  That is what this country is supposed to be about.  But unlike other protesting groups - Broadway Impact and the It Gets Better campaign come readily to mind - this one loses a lot of credibility because they clearly have no idea what they are talking about.  Maybe they should see the show and take notes, produce a clearly thought out and thoroughly supported list of perceived wrongs this show allegedly commits.  Then I might actually listen to what they have to say.

But regardless of any further action against the show from the Freedom Party, I know what I saw: 9 American heroes standing up for what was right in the face of a corrupt and lopsided system.  I also saw my own shameful prejudices and those of my ancestors.  Lesson learned.

MY REVIEW OF THE SCOTTSBORO BOYS IS HERE.

Comments?  Leave one here, email me or Tweet me.
Jeff
2.69

Broadway Boys: Mr. November 2010: Joshua Henry

2010 has been quite a year for Mr. Broadway November.  First, he made quite an impression as the Army recruiter in "Favorite Son," a number in Green Day's American Idiot.  And just last Sunday, he opened to personal raves in The Scottsboro Boys, where he leads the cast with a riveting, moving performance as the truth demanding Haywood Patterson.

Joshua Henry made his debut as an ensemble member in the original cast of In the Heights, both off and on Broadway.  He has also appeared regionally in such roles as Judas in Paper Mill's Godspell and the Tin Man in Encores! Summer's The Wiz.

Yes, 2010 has been a wonderful year for this Broadway star-on-the-rise.  And 2011 looks even brighter.

Mr. Broadway November 2010: Joshua Henry

His headshot

Opening night at In the Heights

(Left) As Will in the first Sex and the City film

(Right) as Judas in Godspell

Off-Broadway in Serenade

with Anika Larsen

(Right) Henry as the Tin Man in Encores! Summer's The Wiz

With Dorothy, singer Ashanti

At The Wiz's opening night party

In the ensemble cast of Billy Porter's

Sondheim/Shakespeare revue, Being Alive

(Center) "Favorite Son" in American Idiot...

... and more (or less) of the same...

...picking out a tune in the finale with the Idiot band...

...and at the opening night party with

fellow Idiot ensemble member, Theo Stockman.

As Haywood Patterson in The Scottsboro Boys

"Commencing in Chattanooga"

"Go Back Home"

At the opening night party

for The Scottsboro Boys

See you at the Tony Awards, Josh!

Comments?  Suggestions for next month's Broadway Boy or Lady?  Leave it here, email me at jkstheatrescene@yahoo.com or Tweet me!

Jeff

2.63