Offensive Minstrelsy Overshadows History in “Scottsboro Boys”
By Jeanette Toomer
The new musical, “The Scottsboro Boys,” on Broadway at the Lyceum Theater tells the true story of nine black men wrongly arrested in 1931 for raping two white women. It takes place in Alabama and that says it all. Yet, the producers build a minstrel show framework around this historic tale of societal injustice and racism that offends and insults modern black audiences. The height of this offense comes in the grand finale when the all black male cast dances in full blackface greasepaint and white gloves.
Minstrelsy was a form of theater in the early 1900s through 1930s that black actors performed for white audiences in segregated theaters. Many of the characters portrayed amounted to nothing more than buffoons or other black stereotypes. The “minstrel shows” actually originated in the 1850s with “groups of white minstrels wearing blackface whose material caricatured the singing and dancing of black slaves.” In “The Scottsboro Boys” the opening number introduced two of these laughing and grinning cartoon types as “Bones,” and “Tambo.” Full-blown racism not only ruled the court system but America’s stages as well.
Although minstrelsy may seem a suitable vehicle for staging the Scottsboro Boy’s story, it is not necessary. In fact, it adds an uncomfortable quality of “for whites only” as if the black audience members are not even present. In its worst cases, like the “electric chair” dance, the impact is repugnant as the black victims fall into the chair and after jolted by electricity, jump up again and dance around like the living dead. The racist assault on our persons detracts from the power of the story of the Scottsboro case which alone proves to be quite enlightening, dramatic and educative on its own merits.
In spite of this gross error in framing the show, this musical held some good theatrical qualities. With book by David Thompson and creative choreography by Susan Stroman, “The Scottsboro Boys” features telling lyrics by Kander and Ebb, and a very talented ensemble cast led by Broadway’s rising star, Joshua Henry. Standout satiric portrayals by Colman Domingo as the southern sheriff and prosecuting attorney inspire fits of laughter. Forrest McClendon perfectly captures the New York dialect and determination of the Jewish defense attorney, Samuel Liebowitz, who tries to rescue the Scottsboro Boys on subsequent appeals.
“The Scottsboro Boys” closes this weekend.
