BWU’s WAITRESS delivers a tasty treat at Beck Center for the Arts

 

BWU’s WAITRESS delivers a tasty treat at Beck Center for the Arts   Roy Berko (Member:  Cleveland Critics Circle, American Theatre Critics Association)   WAITRESS, which features an all-original score of music and lyrics by singer-songwriter-actress Sara Bareilles, which is now on stage at the Beck Center for the arts, in a production by Baldwin Wallace’s Musical Theatre program, is unique in that, when it opened on Broadway in January, 2010, it featured an all-female production team.      Also distinctive was that, in order to immerse audiences, real cinnamon loaded pies were warming in special ovens creating the aroma of a pastry shop.  Slices of pie were sold before the curtain rose and at intermission.     The musical opened to mixed reviews, with much praise for Bareilles score and some questions about Jessie Nelson’s book.  It ran 1,544 performances, was closed by Covid, and reopened for a short run when Broadway once again went live.   Based on the 2007 film of the same name, it tells the story of Jenna Hunterson, a baker and waitress, who is in an abusive marriage.  She works with a group of supportive and delightful waitresses and waits on some eccentric customers.     After Jenna unexpectedly becomes pregnant, she finds that her former female doctor has retired and has been replaced by a young and attractive man.  A relationship develops between Jenna and Dr. Pomatter, her new doctor, unraveling further her already trauma-filled life.    Looking for ways out of her troubles, Jenna learns of a pie baking contest with a large grand prize that could give her the financial means to get out of her marriage.  She is stopped from participating when her daughter is born early and her sleezy husband finds the stash of funds that she has been hiding to finance her trip to the contest.     A surprise knight in shining-armor gives her the needed funds, allowing Jenna, much to the delight of the audience, to kick her husband to the curb, open her own pie shop, and, in tradition of the American musical, live happily ever after.  (Or, so we hope.)   The production, under the focused direction of Victoria Bussert, has the right balance between pathos, humor and angst.  And, as should be expected from students in BW’s much-praised program, the vocals were well-sung and the farce nicely keyed.   In spite of the excellent musical sounds, the audience is not going out of the theatre singing any of the songs.  Though it plays well on stage, this is not a catchy score…no top ten songs here!  And, the rom-com script, as the Broadway reviews clarified, is not epic.  This is definitely not the tales of DEAR EVAN HANSEN, NEXT TO NORMAL, HAMILTON or WEST SIDE STORY.   In spite of those weaknesses, the production is an audience pleaser.  They cheer for the good lady, boo the scum-bag abuser, delight at the farce, and are entranced by the Shirley Temple cutie (Emilia Menotti) who appears briefly as Jeanna’s daughter.   The show is double cast.  I saw the Apple Pie Cast so these comments concern only those performances.   Sophia Edwards, a BW junior, has a strong singing voice and develops a believable put-upon Jenna who doesn’t have the wiles to get out of a dangerous and degrading relationship.  Her “She Used to be Mine” was well conceived.    Jacob Anderson was appealing as Dr. Pomatter.  The Jenna-Pomatter duet, “Bad Idea” was well sung and showcased a nice emotional bond between the performers.    Matthew Wright nicely honed the role of a cantankerous old guy.  His “Take It from an Old Man” was a show highlight.    Aamar-Malik Culbreth, as the ADHD tightly wound Ogie, the love interest of Dawn (Kat Magocsi), the shy waitress, quickly emerged as the audience favorite.  His “Never Getting Rid of Me” stopped the show!  He has a wonderful feel for farce and is Broadway ready to play any nerdy part.  “I Love You Like a Table,” sung with the Magocsi was delightful.  She, too, is ready for the Big Apple.  Anyone who is going to reprise HAIRSPRAY should immediately cast her as Penny.   Kechanté, as Becky, the third of the trio of waitresses, has a strong singing voice and well uses her sassy personality, “attitude” and flashing eyes.  Her scenes with Marc Dalmau (Cal), the cook, were sensually-filled delights.   Matthew Webb’s orchestra nicely underplayed the score, supporting, not drowning out the singers.    Jeff Herrmann’s scenic design generally worked, but the constant dragging of the pie and ingredient racks on and off-stage became tedious after a while.     For those concerned that Bussert and her staff moving from BWU to Oberlin might signal a break of her talented students appearing at Beck, need not fear.  According to Beck’s Artistic Director, “When asked if Beck Center would join them on this journey, we couldn’t help but say yes.”   Capsule judgement:  WAITRESS is the kind of production that audience’s love.  Though the script is shallow, the plot obvious, and there are no memorable songs, it matters little.  In the hands of the talented and well-directed cast, the standing ovation was well-deserved.  Go, see emerging young talent which will soon be featured in Broadway shows, and enjoy yourself!   Tickets for the production, which runs through MARCH 9, 2025, are available and/or via 216-521-2540 or http://www.beckcenter.org (7:30p.m. evenings, 2:30 p.m. matinees).   Upcoming at Beck:  4/4-5/4—UNDER BASEBALL SKY-- From José Cruz González, author of American Mariachi, comes a new play about baseball’s deep roots in the Mexican American community.    5/30-6/29—THE ROBBER BRIDEGROOM-- A sense of justice for the average person compels us to seek out Robin Hood type heroes. This fairytale is set to bluegrass music - the perfect soundtrack setting for the intimate Studio Theater.

Baldwin Wallace students shine brightly in RIDE THE CYCLONE at Beck Center

 

Theater, as all of the arts, represents the era from which it comes.  We live in a period of confusion, conflict, uncertainty, changing customs and practices.   Present day dramas and musicals reflect today’s political, racial, religious, technical, cultural, language, and gender/sexual issues.   RIDE THE CYCLONE, with music, lyrics and book by Jacob Richmond and Brooke Maxwell, which is now being produced, in its regional premiere at the Beck Center, is a case in point. The show opened Off-Broadway in November, 2016 and ran until December 18 of that year.   CYCLONE centers on the fictional St. Cassian High School chamber choir from Uranium City, Saskatchewan, Canada.  While on a trip, which includes a visit to a carnival, the members die on The Cyclone, a roller coaster that malfunctioned.   The spirits of five choir members, before they go to the “after life,” are told, by The Amazing Karnak, a mechanical fortune teller, that one of them will get a chance to return to life.  The fortunate “winner” will be selected by the unanimous votes of the group after hearing from each as to why they should be allowed to live.  There is a sixth victim of the malfunction, Jane Doe, who was so named because no family came to claim her body.  Her real identity is unknown to herself or anyone else.  She is wearing the same school uniform as the others, but none of them remember her. Karnak reads a prophecy: "Whoever wants to win it the most shall redeem the loser in order to complete the whole." Each “contestant” tells and sings a song themed around themself.    Presentations vary. One young lady recounts her self-importance and that others fall far short compared to her. Others follow relating the tale of their lives and the influence of varying things including reality television shows, living a life of tragedy, having feelings of isolation, the role of rap/hip-hop music, posts on YouTube, online dating, existing with a degenerative disease, the effect of fantasy, the function of animals on one’s life, the lose of virginity, and the diminishment of respect for parents. Rather than singing about her past and her hopes, dreams, and fantasies, Jane Doe sings about her own despair as her spirit has no memory of who she was.  At last, it is time for the final vote.  It is here that the “moral” of the script comes forth-- “that at the end of the day life is not a game to be won, but a ride to be enjoyed through all its ups and downs.” The show, which is expertly directed by Victoria Bussert, is partially double cast.  The Raptor Cast, which I saw, was universally excellent.  The singing, acting and dancing, as should be expected from students of the highly respected BW Musical Theatre Program, was of the highest quality.  Matt Koenig, an Assistant Professor of Theatre at Baldwin-Wallace is totally mesmerizing as Karnak.  His mechanical movement and voice are amazingly accurate. Other members of the stellar Raptor Cast are Joë Lewis-McLean, Alexa Lopez, Izzy Baker, Elliot  Block, Danny Bó and Benjamin Michael Hall. The scenic design Trad A Burns’ is outstanding, as are his lighting effects. Carlton Guc’s sound design, Jack-Anthony Ina’s projection designs, Matthew Webb’s musical direction and Lauren Tidmore Marousek’s choreography all add to the over-all positive effect of the production. Capsule Judgment:  The strong directing, performances and production qualities of RIDE THE CYCLONE THE MUSICAL overcome the less than stellar book and music to make this is definitely worthy of a trip to Beck Center where the audience gets to appreciate and wonder at the talents of the students enrolled in the BW Musical Theatre program. RIDE THE CYCLONE THE MUSICAL runs through February 25 at the Senney Theater in the Beck Center for the Arts complex.  For tickets call 216-521-2540 or go to beckcenter.org

Performances, singing and dancing eclipse script and score in BW/Beck’s GHOST the musical

There is an adage in the theatre world that “one should not come out of a musical whistling sets and costumes.”  In other words, the important aspects of a musical are the book (story) and the lyrics and music, not the production aspects.  

 

In spite of these sage words, after seeing GHOST, The Musical on Broadway, though I was under-whelmed by the shallow book and the lack of memorable music, my review of the show waxed eloquently about the production qualities, especially the effects which resulted from the electronic projections, which allowed for actors to run through walls and appear to be suspended in space.

 

Though not as visually spectacular as the New York production, the sleek BW/Beck set by Jordan Janota and lighting design by Russ Borski do much to support the superlative BW cast.  But before we get into the performances and staging…

GHOST is a musical, based on the hit 1990 film of the same name, with book and lyrics by Bruce Joel Rubin and music and lyrics by Dave Stewart and Glen Ballard. The stage version opened in Manchester, England in March of 2011, ran on the West End and was transferred to Broadway in 2012, where it ran a brief 136 performances. 

The musical starts when New York banker, Sam Wheat, and his long-time girlfriend, sculptor, Molly Jensen, move into a loft apartment in Brooklyn, aided by Sam’s co-worker Carl Brunner.  

Sam and Molly are in love. Sam, however, shies away from articulating the “L” word.  In what is an important plot development foreshadowing, he assures Molly that he doesn't say it in so many words because he prefers to, “say it through his actions.” 

At work, Sam notices some discrepancies with several bank accounts.  He shares his discoveries with Carl.  (Shout out:  Major plot clue).

After a night out, as they return to their apartment, Sam and Molly are confronted by an armed man who tries to steal Sam's wallet. Sam fights back instead of surrendering.  They struggle for the holdup man’s gun. It goes off.  Sam is fatally shot.  (Another plot advancer.)

We quickly find out that Sam is caught in the netherworld (Eww!) and the hold-up was orchestrated by Carl. He needs to warn Molly that she is in danger. He turns to Oda Mae, a fake clairvoyant, to help him. (The writer needed to both get some humor into the plot and incorporate in an off-beat character.)

Molly gets a visit from Oda Mae, but Molly is hesitant to believe what she is being told, until Oda Mae starts parroting things that only Sam would know. (Including that he had trouble saying “I love you, “which I told you about a couple of paragraphs ago.) Thus, we have all the elements of exposition to allow the audience to be taken on a fantasy journey where love conquers all. 

 

The BW/Beck production, under the directing of Victoria Bussert, is creatively staged.  Lauren Tidmore’s choreography has the perfect amount of pizzaz, and Matthew Webb’s seven-piece orchestra hits all the right notes.  

 

The cast is outstanding.  Bussert, in choosing the students to be in her Musical Theatre program, usually has a couple of “stud” guys who are not only visual gym-toned eye-candy, but can sing, act and dance.  Mark Doyle (Sam) and Mike Bindeman (Carl) are in BWs ready for Broadway pipe-line.  

 

Doyle, who has been seen locally in MAMMA MIA!, THE LIGHTNING THIEF, THE SOUND OF MUSIC, CHRISTMAS CAROL and SPRING AWAKENING, is a graduating senior.  He has a strong voice, good acting chops and a nice stage presence.  He, and adorable and talented Jessi Kirtley (Molly) play-off each other well.  Their duets, “Here Right Now” and “Three Little Words,” are show highlights.

 

Bindeman, another BW graduating senior, also showcases strong singing chops and is properly snarky as the manipulating Carl.  Versatile Danny BÓ fascinates as Subway Ghost.  

 

Colleen Longshaw, who has trod the stage at every local professional theatre, and been seen in national tours and on Broadway, steals the show as the outrageous Oda Mae Brown.  

 

Capsule judgment:  GHOST THE MUSICAL has a weak book and non-memorable music, but it is worth seeing to appreciate its wonderful singing, dynamic dancing, fine acting and creative staging!   Go! See! Enjoy!

GHOST, which has a runtime of 2 hours 15 minutes runs through FEBRUARY 26, 2023.  For tickets go to https://www.beckcenter.org/shows/ghost

Spell-binding LIZZIE THE MUSICAL rocks at Beck Center

Vickie Bussert, the director of LIZZIE THE MUSICAL, an exploration of the Lizzie Borden story, now on stage as a joint production between Baldwin Wallace’s nationally respected Musical Theater Program and Beck Center of the Arts, is no stranger to the show.
 
Bussert staged the show at the 14th Street Theatre, in Playhouse Square in 2012.  Three of the cast members, Ciara Renee, Keri Rene Fuller and Shannon O’Boyle, went on for Broadway careers.  
 
She then directed the Danish, London and Chicago premieres of LIZZIE, before making a return to PHSquare for four performances in 2017.  Veronica Otim, of that cast, has gone on to a Broadway career. 
 
Bussert says, “LIZZIE is such an exciting musical. I can’t wait to tackle it again for the Beck Center!”  
 
And, tackle it she does! 
 
The BW/Beck production is a high tension, rock-centric musical that has the audience bopping in their seats.  Matthew Webb’s high-octane band wails, and the cast powerfully develops that story with superb acting and singing.
 
Bussert went on to say, “This piece has the power of transformation for the actresses — I’ve seen it over and over again.  There’s just nothing written like this for women in the musical theatre canon.”  
 
She continued, “Although the cast is only 4, we not only double cast the show but added 5 amazing understudies — we weren’t going to let Covid win!”

What’s the show about?  Remember the jump rope rhyme, “Lizzie Borden took an ax and gave her mother forty whacks. When she saw what she had done, she gave her father forty-one.”

Yes, the Lizzie in the title is the infamous Lizzie Borden.

The story is set the late summer of 1892.  We discover that Lizzie Borden was accused of murdering her father and stepmother with an axe. During the trial, testimonies were muddled, evidence was incomplete, and, much to the chagrin of many of the townsfolk, Lizzie was acquitted.

“The musical delves into the mysterious mind of Lizzie Borden and speculates on the motivations she may have had: loss of inheritance, history of sexual abuse, overwhelming oppression, and madness.”

As for Lizzie, her birth name was Lizzie Andrew Borden.  Her father, as she reminds us throughout the show, wanted a son, thus her middle name.  
She was, at least by her recounting, sexually molested by her wealthy father. In addition, she and her sister, Emma, were harshly treated by her step-mother.

The murders and trial received widespread publicity throughout the United States and remain a topic in American popular culture to the present day. They have been depicted in numerous films, theatrical productions, literary works, and folk rhymes.  She, and the murder house, have become a cottage industry in Fall River.

The BW/Beck production is outstanding. From the opening notes of “Forty Whacks” the cast demands attention.  
 
(Note: The show is double cast.  All comments in this review are based on my seeing The Axe cast.”
 
The exposition is laid out clearly in “The House of Borden,” in which the cast of four, tells of the evil and angst within the four walls. The tale is broadened by Lizzie’s narration of the molestation by her father in the haunting “This Not Love” and the wrenching, “Gotta Get Out of Here,” both well-interpreted and sung by petite BW sophomore, Jessi Kirtley.  She commands the stage throughout the show.
 
We gain an understanding of the family dynamics when Lizzie joins in “Sweet Little Sister,” with dynamic BSW senior Autumn Key (Emma).  Displaying a strong singing voice, Key sometimes over did her volume, substituting loudness for line and lyric interpretation.  The duos “What the F#%k Now Lizzie” laid out what was going to happen now that their parents were dead.
 
Graduating BW senior, Colette Caspari, has a wonderful approach to humor and created a delightful Bridget, the family housekeeper, who knows all and tells all.  It is easy to see this talented lady on Broadway stages playing comic roles.  Her “The Fall of the House of Borden/The Alibi” was well-interpreted.
 
Pretty BW junior Andie Peterson nicely textured the role of Alice, Lizzie’s neighbor and secret lover. Her “Will You Stay?,” jointly sung with Kirtley (Lizzie) was nicely interpreted.
 
Jeff Herrmann’s free-standing house, which not only forms the boundaries for the acting area, but reveals the on-stage band, is right on as a setting design for Bussert’s image for the show.  
 
Charlotte M. Yetman’s spandex, see-through materials and goth costumes, help both in character development and in setting the right rock attitude.  
 
Carlton Guc does a nice job of balancing the loud band sounds with the performer’s voices.  Somehow, he even tames the bad Beck sound system, so that every spoken and sung word and lyric is easily heard.
 
Capsule judgment:  The BW/Beck production is a high tension, rock-centric musical that has the audience bopping in their seats.  Anyone who likes good singing and acting, powerful music and interesting story, will have a goth-blast at LIZZIE.
 
LIZZIE THE MUSICAL runs through February 27 in the Senney Theater of Beck Center for the Arts.  For tickets go to beckcenter.org or call 216-512-2540 X10.
 

BWU and Beck Center streams 5 X 15, five musicals of fifteen minutes each with mixed results

BWU and Beck Center streams 5 X 15, five musicals of fifteen minutes each with mixed results

Last November Baldwin Wallace University’s nationally ranked musical theater program produced SPRING AWAKENING on-line.   My capsule judgement of that production read: “Victoria Bussert and her BWU crew and cast avoided, as one of the songs from “SPRING AWAKENING states, being ‘Totally Fucked’ and took on the Covid-19 challenge, developing a thought-provoking production which turned out to be the first collegiate pandemic production of the script and further recognition of the college’s program.  Bravo!”

 

BWU, now in coordination with Beck Center for the Arts, a partnership that has existed for ten years, is streaming the world premieres of five fifteen-minute brand-new musicals, in a program entitled 5 X 15. 

 

The program is part of the National Alliance for Musical Theatre’s challenge “to celebrate the power of musical theatre and encourage continued creation of new music theatre pieces during the pandemic.” 

 

The five shows presented by BWU/Beck were all winners of the NAMT challenge.

 

The program opened with Monster on the Lawn in which we find Ricky, a six-year-old, playing on his front lawn.  When an incoming hurricane threatens to separate Ricky from his family and his home, he seeks comfort in the presence of a strange and seemingly-quiet monster. Obed De La Cruz wrote book, Latino-centric music, and lyrics.  

 

Mateus Cardoso was charming as the youngster.  He has a youthful presence, expressive eyes and a fine singing voice.

 

It was directed by Jon Martinez, the artistic director of Firebrand Theatre.

 

The second playlet was Holo.  Set in 2189, in a holograph museum, the curator (Bryanna Cuthill) and holographic Kyle (Mackenzie Meyh) have entered into a unique relationship which recounts the pandemic year 2020 and the happenings when the museum directors decide to close down the exhibit, thus erasing Kyle’s existence.

 

Both Meyh and Cuthill display strong pop music voices and were believable in their fantasy roles. 

 

The book, music, and lyrics are by Nico Juber, with BW grad and Broadway leading lady Ciara Renée (FROZEN, BIG FISH, PIPPIN) directing.

 

WHITE MAN’S BURDEN, also billed as “AN INFORMERCIAL:  A COON’S LIFE,” takes place in the world of sideshow “freaks” who have been killed because of the color of their skin.  Led by an emcee, the cast relates the tales that laid the foundation for the civil rights and Black Lives Matter movements. 

 

The cast, Dar’jon Bentley (James Byrd Jr.), Jack Hale (Andrew Goodman), Binden Harvey (James Chaney), Godia Hayes (Mikey Mike), Makay Johnson (Yusseff Hawkins), Will Lamb (Michael Schwerner), Zach Mackiewicz (Player), Charles Mayhew Miller (Emmett Till) and JT Snow (Player) create strong visual pictures.

 

Eric Jones wrote the book and lyrics with music by Joshua Davis.  Nathan Henry directs, with musical linguist, Edward Ridley, Jr., serving as musical director.

 

According to Dale Sampson, the writer and co-lyrists of RODEO CLOWNS, during these unusual times, he wanted to conceive a place the audience would be excited to return to every day.  The hope, of course, is that Rodeo Clowns could be a fun escape.

 

I wish his goal had been reached.  As is, in spite of a valiant effort by the cast (Nick Cortazzo--Butch, Danny Bó--Dill, Lee Price--Travis), the script and production make for a long fifteen-minutes.  The script and presentation well illustrate the theatrical concept, “Farce is hard to write and even harder to perform.”

 

Sara Brunner directs.

 

The highlight of the evening was the closing selection, PERPETUAL SUNSHINE & THE GHOST GIRLS, with music by Lynne Shankel, words by Sara Cooper, direction by Victoria Bussert and musical direction by Matthew Webb.

 

In the program notes Lynne Shankel writes: “Sara and I had this idea percolating for a while: a musical about the women who worked at United States Radium Corporation in the 1920’s. They worked with radium paint and were slowly being poisoned by it. When the company realized it was in fact the radium that was making them sick, they covered up their findings.” She goes on to say, “The central theme of the piece is that death is not noble. Workers shouldn’t have to put their bodies at risk for the economy. This piece will eventually be an 80-90-minute one act musical.”

 

The segment which was presented consisted mainly of one very well-written and performed song, “Tick, Tick, Lick,” which is a perfect opening for setting the story line.

 

Cast members included:  Katelyn Baughman, Piper Bruce, Colette Caspari, Audrey Hare, Autumn Key, Jessi Kirtley, Alexa Lopez, Eden Mau, Claire Marie Miller, Andie Peterson, Lauren Senden and Bella Serano.  

 

Based on what they have written so far, the longer version may well work as a musical drama, if the duo of writers can solve how to expand on the concept and use some of the newer staging electronics, such as presented in MEAN GIRLS and DEAR EVAN HANSEN.

 

CAPSULE JUDGMENT:  It is always a challenge to perform works in progress.   It is more problematic when they are musicals.  That difficulty is expanded when the staging is restricted by the electronic medium.  The BW/Beck evening of one-act musicals proved to be both a pleasurable and frustrating evening.  It will be interesting to see if any of these efforts grow beyond their present form.

 

The limited virtual engagement runs from February 12 to February 28, 2021. Ticket purchase provides 48-hour access. For more information visit beckcenter.org.  For tickets, priced at $20 for one viewer, and $30 for two or more viewers go to: https://www.showtix4u.com/event-details/44593”

 

BW/Beck’s “THE SCOTTSBORO BOYS,” is both compelling and uneven

The Scottsboro Boys were nine African-American teenagers, ages 13 to 20, falsely accused in Alabama of raping two white-women on a train in 1931.

The incident started when the women got off a train and accused the African American teenagers of rape. It resulted in the boys being arrested, put in jail, and assigned an incompetent lawyer.  In spite of the fact that there was no evidence that the youth had committed any crime, all but a 13-year-old were convicted of rape and sentenced to death.  

An appeal, due to a rushed trial, an all-white jury, and no attempt to mount a defense, followed.  Even though at the retrial one of the women recanted her accusation, the verdict was the same. Numerous other appeals and trials, mounted with the help of the Communist Party USA (CPUSA), the National Association for the Advancement of Colored People (NAACP), and a dedicated Jewish pro-Bono lawyer, were lodged.  

Eventually, all but three of the boys were released.  But it wasn’t until November 21, 2013, that the Alabama parole board voted to grant posthumous pardons to the three who had not been pardoned.  What happened to each of these young men, could be the basis for another pathos-filled epic.

The case has been explored in many works of literature, music, theatre, film and television. 

"THE SCOTTSBORO BOYS," the musical, has the basic framework of a minstrel show, with a company that, except for one person, the Interlocutor, consists entirely of African-American performers. 

The book is by David Thompson, music by John Kander and lyrics by Fred Ebb, the collaborators on such shows as “CHICAGO,” “CABARET” and “KISS OF THE SPIDER WOMAN,” all of which were based on societal injustice.  

The show was the last collaboration between Kander and Ebb.

The show opened Off-Broadway and then moved to Broadway in 2010.  Despite receiving twelve Tony Award nominations (it won none), it ran only two months.  It is theorized that the reason the show didn’t run longer was that “people did not know how to deal with it.”  It is not a show for everyone, especially those who want to see escapist shows, rather than musical dramas.

The Big Apple production was not without controversy. On November 6, 2010, about thirty people gathered at the Lyceum Theatre, where “THE SCOTTSBORO BOYS” was playing, arguing that "the use of minstrelsy and blackface were racist."  

The production team said the minstrel show is "not meant to demean or degrade anybody," but rather that it "houses the story we’re trying to tell."  That view was affirmed by TV personality Whoopi Goldberg who said, “The people who are protesting this show, 90% of the people have not seen it. ... People are protesting saying that it shouldn't be a minstrel show, this is too serious. What people don't understand is that you have to bring information to people in a most invigorating way.”

The present day staging of the script, based on the attack-attitude of POTUS, the rise of White Nationalism, the attack on young black men by some police, racial profiling, rising anti-Semitism, and the overlooking of blacks, women and Asians in entertainment awards and economic positions, is quite justified.

Besides its social message, “THE SCOTTSBORO BOYS” is a rare opportunity for African American male performers, as almost all of the cast is portrayed by blacks.  The Beck production is also an opportunity for Baldwin Wallace Music Theatre students as they, plus one alum, make up the cast.  

(Spoiler alert, there are two women and a white man in the show.  A female for no apparent reason plays one of the “boys,” and another female plays The Lady, whose presence in the last scene adds a mind-blowing wrap to the author’s message.  Non-BW student, Greg Violand, serves as the show’s Interlocutor).

The college has had its foot on the stage of the show since the beginning.  Derrick Cobey, a 2001 grad, originated the role of Andy Wright in the Broadway staging.

The psychological effect of “THE SCOTTSBORO BOYS” is moving.  It is impossible to watch the action and not want to scream about injustice.  

Unfortunately, the production, itself, under the direction of Jon Martinez, is uneven. 

Many of the performances are excellent, filled with clear characterizations and emotionally felt lines, others were surface-level presentations with words, rather than meanings, being presented.  

The musical vocalizations, especially “Go Back Home,” considered to be one of the best mournful ballads-of-longing written for a musical, were nicely done.

The choreography, which includes some intricate tap dancing, was generally creative, but not always precisely presented.

Many of the young actors seemed to lack an understanding of the minstrel show and “Yazza-boss” attitudes that degraded black men.  Mimicking vocalizations, overdone facial and eye movements, demeaning side-comments, and put-down jokes are part of the over-done sounds and images that needed to be created.  This was not always the case.

Matthew Webb’s orchestra had the right sounds to help the cast create the needed mind-set and, wisely, underscored rather than drowned out the performers.  

CAPSULE JUDGEMENT: “THE SCOTTSBORO BOYS” is a powerful piece of historical theatre whose message must be heard, especially in these days of the continuance and rise of racial and religious prejudice.  The Beck Center/Baldwin Wallace Music Theatre Program production itself was inconsistent in its overall effect, but is still a staging worth seeing. 

“THE SCOTTSBORO BOYS” is scheduled to run at Beck Center for the Arts through February 23, 2020.  For tickets and information call 216-521-2540 or go online to http://www.beckcenter.org   

Next up for the BW Music Theater Program: “FREEDOM SUMMER,” which follows the crusade for equality as activists navigate racism, corruption, and violence in the 1964 Jim Crow south. Music by Charlie H. Ray & Sam Columbus, Lyrics and Book by Charlie H. Ray, Directed by Dana A. Iannuzzi.