The Scottsboro Boys: Tony Remembered

The recent Broadway production of The Scottsboro Boys received 12 Tony nominations this week. That makes me happy. This unforgettable show began at the Vineyard Theatre and ended up on The Great White Way. I fondly  called it "the little musical that could". Then, it closed.

This powerful production tackled one of the most shameful, painful stories in recent memory, and managed to make it thoughtful, engaging, and entertaining. The minstrel show motif added nuance and served to heighten the irony and pathos of this haunting and heartbreaking, but true, story.

Susan Strohman's direction was flawless. The entire cast was a joy to watch. I don't want to single anyone out. The singing was gorgeous, nearly celestial at times. The lyrics were powerful and moved the story along exactly like a good musical should. I listen to the soundtrack regularly, and it never disappoints. The stunning choreography, presented against a minimalist set design, popped. I didn't feel, as some did, that the actors were dressed in white to make the characters seem angelic. It's more complex than that.

The Book of Mormon will probably get the Best Musical award. If The Scottsboro Boys get any awards, I will be ecstatic. For now, it's gratifying that Tony remembered.

The Motherf**ker With The Hat: I Know That Guy!

I’m no prude. Nor am I easily offended. I can embrace salty language, controversial themes, even simulated sex on the stage, as long as I feel it is not gratuitous.

The Motherf**ker With The Hat by Stephen Adly Guirgis is a badass play. Hands down, it is one of the most assaultive experiences I have ever had in a theatre. I loved it. As I said in the title, I know that guy. In my brief experience with the world of recovery from substance abuse, I met men just like him. Women, too. 

We often assume that people in recovery have achieved some spiritual enlightenment. That’s a dangerous assumption. The truth is, to attain spiritual enlightenment, a person must make significant changes in outlook and behavior. It is not enough to simply stop “using” and change nothing else. The Motherf**ker With The Hat brought that point home with a knockout punch. It was hard-hitting, sometimes uncomfortable to watch, but excruciatingly honest.

It would have been easy for the playwright to change the title so as not to offend some theatregoers. I’m glad he didn’t. The title is just right.

Hello Again: Pleased To Meet You

Last night, a friend and I attended The Transport Group's revival of Hello Again staged in a SoHo loft in New York City. I was hungry for a fresh theatre experience that would engage and intrigue me. It did not disappoint.

This revival, inspired by Arthur Schnitzler's controversial 1897 play La Ronde, was written by Michael John LaChuisa and directed by Jack Cummings III. I watched beautiful actors with mostly gorgeous voices portray 20 love-challenged individuals involved in 10 affairs -- one for each decade of the 20th century.

The exceedingly intimate atmosphere, lush score, and libretto oozing with lust and longing made this immersion theatre at its most delicious. Throughout the production, I only blushed twice. I can barely wait to see what LaChiusa and Cummings cook up for their next offering!

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