The Scottsboro Boys

Patrons arriving at the Lyceum Theater

Fred Ebb died in 2004 and did not live to see his show CURTAINS, written with John Kander, open on Broadway. Another show by the legendary pair who gave us CABARET and CHICAGO was THE SCOTTSBORO BOYS and after an Off Broadway run at the Vineyard Theatre last season, it has finally opened on Broadway at the Lyceum. Susan Stroman has staged it and David Thompson has written the book. Fred Ebb was the one with the big idea that the true story should be told in the style of a minstrel show. This sounds like a bold and controversial choice, but on the other hand using the world of show business as a way to frame a musical has always been Kander and Ebb’s way. Whether it is CABARET’S Kit Kat Klub, CHICAGO’S Vaudeville show, or KISS OF THE SPIDERWOMAN’S Hollywood musical film dreams, “Show Biz” has enabled Kander and Ebb to be both entertaining and deal with their very serious subjects all at once. This story takes place in the 1930s, a time when the American minstrel tradition was being brought back to life in the movies––viewed as a nostalgic old time form of entertainment that dated back to the 1840s. Even in the 1940s when Mickey Rooney and Judy Garland were putting on minstrel shows in the barn, the genre was not looked at as inappropriate. This politically charged form turns out to be perfect for allowing for an exhilarating show and a playground for exploring this important story of social justice and an early civil rights benchmark.

Mickey Rooney and Judy Garland in BABES IN ARMS

The story, in short, concerns a group of black young men who, while riding the rails looking for work, were accused by two white women of rape. This was an out and out lie and caused the boys to go through numerous trials over a period of years for a crime they didn’t commit. A few of them were released from prison and years later a few more as well, but all of their lives were ruined. This sounds like a depressing story––it’s horrifying actually––but Kander and Ebb’s good old fashioned show tunes and Susan Stroman’s cake walks and tap dances brighten the whole thing up to a rousing and satirical good time. Even the dramatic scenes are performed in a heightened style in keeping with the minstrel show idea, but somehow, despite the highly choreographed nature, those scenes are still harrowing.

The design of the production is simple, with Stroman moving chairs around to help define spaces under a triplet of askew proscenium arches. Drapes come and go to help with the showmanship, but the bulk of the presentation is up to the fantastic cast who plays not only the boys of the title, but multiple other roles. The cast is all men, headed by John Cullum in the position of Interlocutor, Colman Domingo as the traditional Mr. Bones and Forrest McClendon as Mr. Tambo. Rosa Parks (Sharon Washington) is hovering around the whole time looking very significant, but doing nothing significant. The role will shortly become a bore for the actress, for she doesn’t sing or dance and has only one line. Still, her final moment is well worth the decision to add her.

The boys are played by Josh Breckenridge, Derrick Combey, Jeremy Gumbs, Joshua Henry, Rodney Hicks, Kendrick Jones, James T. Lane, Julius Thomas III., and Christian Dante White. The group sings and dances up a storm and the show offers each an opportunity to show off his strengths. The youngest, playing the 13 year old Eugene, has perhaps the most beautiful voice of the show. He is Jeremy Gumbs dancing a mean tap number in “Electric Chair” and shining forth with a golden lyrical voice in “Go Back Home.” He is a boy and his voice has not dropped, but he looks to be in danger of suddenly growing up, so hurry down to the Lyceum to see him before he gets replaced for daring to hit adolescence.

This is a great show––totally entertaining, historically fascinating, emotionally charged and such an unexpected gift to have a new Kander and Ebb show on Broadway.

The Scottsboro Boys in action

Kiss of the Spider Woman at NYU

The main thing that one comes away with from the NYU Steinhardt production of KISS OF THE SPIDER WOMAN is that there is a large group of talented young men who all have a career if they want it.  The female population of the “Program in Vocal Performance” must be a little miffed this semester, for the show only has three roles for women.  The rest of the cast, lead by two powerful singers, Jordan Stanley as Molina the window dresser jailed for “corrupting a minor” and Roy Richardson as Valentin the revolutionary, is all male and collectively amazing.  The choral singing alone gives goose-bumps, especially the spine-tingling rendition of “The Day After That,” a triumphant rally for hope.  Stanley plays the fey stereotype with plenty of dignity and beautiful singing.  His voice is immensely expressive and he rules the production.  Richardson is equally confident of voice, and although the role is less showy, he should match his costar with his own brand of bravado, but does not.  As the title character, Lauren Calhoun, is appropriately South American and exotic. Her voice can capably handle the low keys designed for the original Spider Woman, Chita Rivera, and also lighten up certain areas that bring a new loveliness to the score.  This Spider Woman is less of a dancer than Ms. Rivera’s, but Jennifer Werner’s very original choreography finds effective ways to move her around gracefully and the ensemble men manage some complicated moves with both power and grace on a stage cluttered with scaffolding and moving gates.  The clutter, dominated by a rotating raised platform at center, was designed by Michael Schweikardt and director John Simpkins has some difficulty working around it.  The center platform, however, makes a nice mini-stage to present what is really a very small play about two people from different worlds locked in a cell together.  How they get to know and appreciate each other is the heart of the story, but the Spider Woman and her dancing back up boys give the show it’s musical flash.  The show itself emerges as a kind of lost treasure.  The score by Kander and Ebb is lush and full of melody.  It does not sound anything like CABARET or CHICAGO and maintains its own special flavor, specific and appropriate to the subject matter.  There are stunning images, strong commentary on the cruelty of human beings towards one another, but counterbalanced with a search and discovery of the good will in men.  KISS OF THE SPIDER WOMAN is one of the great shows of the 1990s, it should be reexamined more often.  NYU took on the challenge with fantastic results.