The finale number of Kander & Ebb’s
2010 musical (here receiving its UK première) sees the eponymous
figures appear in minstrel blackface. Since the Boys in question were
African-Americans, this combines a mild absurdity with a real sense of
shock, notwithstanding the preceding two hours or so. But what has gone
before ultimately “buys” this tactic as a grim summation of the
real-life story. Nine young men and boys, riding a freight train
through Alabama in 1931, were accused of disorder then also of rape,
convicted and sent to death row where they remained through several
retrials. Their real crime, of course, was to be wilfully and
persistently black in the South.
Kander, Ebb and director Susan Stroman (who also helms this production)
give this chronicle of remorseless racism the most racist form they
themselves could find; these, after all, are the composers who gave us
Cabaret and
Chicago, but decorum is pushed even
further here. The old minstrel shows contained all the grotesque
reductivism and patronising contempt evidenced at virtually every stage
of the Scottsboro Boys’ experiences. Sometimes the story is
over-simplified: the arresting sheriff is shown here as an abusive
redneck, whereas in reality he protected the boys from a lynch mob and
was later murdered, possibly by the KKK; every trial after the first is
skimmed over, but in 1933 a more scrupulous judge set aside the rape
conviction of Haywood Petterson and ordered a retrial.
Patterson is the most forceful personality of the nine, and Kyle
Scatliffe stands out from what is otherwise a multi-tasking ensemble;
he has something of the air of Howard Rollins in the film version of
Ragtime, a dignity corroded but
unbending. Among the other Boys, James T Lane doubles as the tragic
Ozie Powell and the accuser who recanted, Ruby Bates; Colman Domingo
and Forrest McClendon morph from minstrel figures Mr Bones and Mr Tambo
into a succession of lawmen, lawyers and the like; Julian Glover is the
token ofay as the minstrel show’s interlocutor, various judges and the
state governor. The show is, however, so busy celebrating
black men that it scarcely notices
its preoccupation with black
men;
even the female accusers are played by members of the Boys. The company
includes one female member, who gets a single line at the end; she
plays Rosa Parks. It is the sole arguable blot on an audacious and
thrilling evening.
Written for the Financial
Times.