Can we tell the truth this time?
So, last week I got the news that The Scottsboro Boys is closing.
No, this is wrong.
Seriosuly, this is wrong.
Jason warned me after I saw the show that it wouldn't do good.
And I thought to myself, "How could it not? The show is amazing! They did this one right! The music is good, biting and true. The performances are strong all around. It's not a feel-good show, but that's not the point of this show. It's supposed to open your eyes to a footnote in history."
Now bear in mind, two years ago, my faith in the American musical was restored.
But now, my faith in the American musical audience is at an all-time low.
I recall a review I read about a month ago. Well, it wasn't so much a review as it was an indictment of the show.
There was no criticism of the performances, or the music, or the staging. The person simply didn't like the show because it made them feel "uncomfortable."
The show's focal point is a moment in history where justice was not served in any way. The main characters were men falsely accused of rape for no other reason than they were black. The show is meant to be "uncomfortable." This isn't just a musical. This piece is theatre. Jarring, jolting, thought-provoking, scary, powerful theatre.
And apparently, no one wants to see that.
I know a lot of people that live here have been anxious to see it.
But I guess people coming into the city were looking to score advance tickets to "Turn Off the Dark."
I gotta be honest. I find it kind of sickening that this is happening.
Don't get me wrong. When all was said and done, I spent most of the show crying and cringing.
Afterwards, I needed a stiff drink... desperately. Anything to steady my nerves.
The images in the show haunted my dreams for two nights straight. That is how affecting this show was.
But I highly approved of it. It's history that should not be forgotten. Thanks to it, I will never forget the name Haywood Patterson ever again.
The job that all of these actors had was grueling and brave.
The finale.
Dear Lord, the finale.
My friend had prepared me for this, but it wasn't enough.
I braced throughout the entire thing. I cried. For the men on stage. For the men they portrayed. For their fates. For how much we've learned since then and especially how much we haven't.
It's a tough show to get through, but it's not without it's great musical moments.
The music is among some of Kander and Ebb's greatest work. The staging made me believe in Susan Stroman again. They walked an unbelievably delicate, fine line and pulled it off.
The fact that it is in a minstrel show format, while really tough to bear given the history of it, is exactly what it needs to get the point across.
What's throwing me is that it's not it's reciepts that are closing the show.
Point of fact, I don't know WHY it's closing. The quality of the show is something you don't see everyday. Across the board great. Once again, John Cullum is relishing his part as the interlocutor. He does evil well.
I mean, come on. The man's been theatrically evil since "1776," at least.
Joshua Henry must win a Tony next year. They had better not forget him.
As Haywood Patterson, he was amazing. There is no other way of putting it.
The entire ensemble was incredible. Jeremy Gumbs as the youngest Boy was just heart-breaking. James T. Lane and Christian Dante White as two of the Boys and as the female accusers were too talented for words. Colman Domingo and Forrest McClendon had the impossible job of playing the minstrel side men, providing humor, hokum, fear and tension from beginning to end. And they did a damn good job.
I was absolutely blown away by this show and it will be gone all too soon.
This is a show people can learn from.
Maybe that's why they're closing up shop. Who knows?
Maybe the subject was too brutal.
Maybe the performances were too powerful.
Maybe it made people think too much.
Anyway you slice it, this is a disppointing day for theatre.
No, this is wrong.
Seriosuly, this is wrong.
Jason warned me after I saw the show that it wouldn't do good.
And I thought to myself, "How could it not? The show is amazing! They did this one right! The music is good, biting and true. The performances are strong all around. It's not a feel-good show, but that's not the point of this show. It's supposed to open your eyes to a footnote in history."
Now bear in mind, two years ago, my faith in the American musical was restored.
But now, my faith in the American musical audience is at an all-time low.
I recall a review I read about a month ago. Well, it wasn't so much a review as it was an indictment of the show.
There was no criticism of the performances, or the music, or the staging. The person simply didn't like the show because it made them feel "uncomfortable."
The show's focal point is a moment in history where justice was not served in any way. The main characters were men falsely accused of rape for no other reason than they were black. The show is meant to be "uncomfortable." This isn't just a musical. This piece is theatre. Jarring, jolting, thought-provoking, scary, powerful theatre.
And apparently, no one wants to see that.
I know a lot of people that live here have been anxious to see it.
But I guess people coming into the city were looking to score advance tickets to "Turn Off the Dark."
I gotta be honest. I find it kind of sickening that this is happening.
Don't get me wrong. When all was said and done, I spent most of the show crying and cringing.
Afterwards, I needed a stiff drink... desperately. Anything to steady my nerves.
The images in the show haunted my dreams for two nights straight. That is how affecting this show was.
But I highly approved of it. It's history that should not be forgotten. Thanks to it, I will never forget the name Haywood Patterson ever again.
The job that all of these actors had was grueling and brave.
The finale.
Dear Lord, the finale.
My friend had prepared me for this, but it wasn't enough.
I braced throughout the entire thing. I cried. For the men on stage. For the men they portrayed. For their fates. For how much we've learned since then and especially how much we haven't.
It's a tough show to get through, but it's not without it's great musical moments.
The music is among some of Kander and Ebb's greatest work. The staging made me believe in Susan Stroman again. They walked an unbelievably delicate, fine line and pulled it off.
The fact that it is in a minstrel show format, while really tough to bear given the history of it, is exactly what it needs to get the point across.
What's throwing me is that it's not it's reciepts that are closing the show.
Point of fact, I don't know WHY it's closing. The quality of the show is something you don't see everyday. Across the board great. Once again, John Cullum is relishing his part as the interlocutor. He does evil well.
I mean, come on. The man's been theatrically evil since "1776," at least.
Joshua Henry must win a Tony next year. They had better not forget him.
As Haywood Patterson, he was amazing. There is no other way of putting it.
The entire ensemble was incredible. Jeremy Gumbs as the youngest Boy was just heart-breaking. James T. Lane and Christian Dante White as two of the Boys and as the female accusers were too talented for words. Colman Domingo and Forrest McClendon had the impossible job of playing the minstrel side men, providing humor, hokum, fear and tension from beginning to end. And they did a damn good job.
I was absolutely blown away by this show and it will be gone all too soon.
This is a show people can learn from.
Maybe that's why they're closing up shop. Who knows?
Maybe the subject was too brutal.
Maybe the performances were too powerful.
Maybe it made people think too much.
Anyway you slice it, this is a disppointing day for theatre.