The Scottsboro Boys!
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While the racial struggles of African Americans are certainly a serious historical matter, The Scottsboro Boys shows that the gravity of this issue can be successfully preserved through comical entertainment. Following closely the outline of a minstrel show, the play not surprisingly introduces a series of amusing characters. Perhaps the most striking of them is Sheriff Bones, who walks like a duck and speaks with a heavily exaggerated southern accent. Waddling from the beginning to end, he is quite a sight to watch. However, the two white women, Victoria Price and Ruby Bates, rival the sheriff’s humorous role. Ironically played by two black men, the plaintiffs are inherently funny characters.
In spite of the jokes and twists that are present throughout the musical, truth and justice remain prominent themes that hold the plot together. Joshua Henry emphasizes the importance of these values through his role as Haywood Patterson, the most outspoken of the nine Scottsboro Boys. At times, one can even taste the young man’s bitter rage and frustration with the South’s discriminatory ways and corrupt legal system. Later in the play, his decision to save the truth over his own freedom creates a powerful statement. Henry’s performance will be forever etched in my mind because of his charismatic and genuine portrayal of a young man living for justice.
Aside from the credible acting, there are also musical numbers worth mentioning, most notably the “Electric Chair.” Although simple, the sound effects and lighting are able to transform a plain wooden chair into one that seems deadly and terrifying. The energetic song and well-choreographed movements also work in perfect combination to create a haunting dream. The star of this scene, Eugene Williams, who plays the youngest Scottsboro Boy, effortlessly depicts a naïve, yet endearing character whom the audience cannot help but love and pity.
Moreover, the simplicity of the set is complemented by the clever use of props. The chairs are constantly moved around to form different environments. They are ingenuously and effectively used to create a train, a bus, a jail cell and a court. When the actors sit on the wooden planks placed carefully above the chairs and bounce along in song, the train they are riding magically becomes real. When they sit in their seats and swerve in unison as the vehicle makes a sharp turn, the bus they are traveling on comes to life. When they shake the chairs as if they are bars and fight with each other within the square space provided by the chairs, the jail cell they are stuck in appears to truly confine them. When they sit properly, with their hands on their laps in a neat semicircle, the stage turns into a real courtroom. Clearly, it is not extravagance or intricate designs that make a set incredible, but rather the actors’ use of imagination to carefully execute motions that make each place feel alive.
In addition, an aerial view of the entire performance surprisingly enhances a spectator’s experience. Every detail and action is visible from above, including the flawless symmetry of every dance number’s formation. Furthermore, each actor, regardless of his place on stage, is seen during each dance, which a front row viewer would unlikely be able to enjoy. There is also a scene in which one of the boys writes letters on the floor of the stage. Only those on the balcony are able to witness this small, but significant detail. All in all, every aspect of the show, from the tambourines to the actors’ wild gestures and theatrical facial expressions, contribute to a passionate, lively and informative performance.
