In attempting to describe Playhouse on the Square’s production of Scottsboro Boys to a friend, I found the concept of the show somewhat difficult to explain. Scottsboro Boys is the retelling of the case of nine falsely accused Black teenagers, which eventually became one of the sparks that lit the fire of the Civil Rights Movement. The show is a musical, which may come as a surprise given its heavy subject matter. And not just a musical, but a vaudeville-style variety show which features minstrelsy as an intentional part of its social commentary. It’s not so much a story within a story as it is a performance within a performance.
Director Jared Thomas Johnson says, “The construct of the show is fun, makes you laugh, and is entertaining so it hides the ugly truth in plain sight.”
The play begins as the reverie of A Lady, who is eventually revealed to be Rosa Parks. We are quickly introduced to the mistral concept of the performance, as well as the theme “speak the truth.” Parks is one thread running throughout the show, a viewer alongside the members of the audience. Our guides, so to speak, are the two zany, almost slapstick characters of Mr. Bones and Mr. Tambo, who play many of the various white characters in the story. Several cast members change characters throughout the play, showcasing dexterity, humor, and vocal talent by the frequent character shifts.
Similarly, the set, made up mostly by the simple repurposing of chairs, changes often. The back of a chair may be reimagined as bars of a cell or the caboose of a train. We first see the nine boys riding a train, which gets stopped by two policemen. Two white girls, who the policemen correctly surmise are sex workers, then accuse the boys of rape in order to avoid being jailed themselves for prostitution.
As Johnson puts it, “When dealing with any subject, humor has a way of healing and feeling like a hug, an embrace. I think the show is designed to let you laugh, smile, and enjoy the talents of our Black artists who have crafted some of the best performances I have seen from Black actors in a very long time. The humor makes the characters real people, people I wanna get to know.”
The actors succeed in balancing the juxtaposition of humor and solemnity, masterfully juggling switches between characters, complicated choreography, and powerhouse vocals — often all at the same time. Music director Tammy Holt praises the cast, saying, “It’s rare and invigorating to have the opportunity to put that many Black male voices together on stage, and these men can sing! We really worked to build community so that the bond would be displayed in their performance, and I think it truly does. This cast is heavily committed and engaged in bringing this story to life, so that’s what you see and hear in every note.”
The ensemble numbers throughout the show were a true delight to take in, layered with adroit harmonies and emotion. My friend, Rhett Ortego, and I were both especially moved by “Southern Days.” After the show, Rhett, who has told me before that he normally doesn’t care for musicals, said, “I almost started crying during the one about home.”
Perhaps the most unusual thing about this play is that by the time the cast lines up for the final bow, the overall feeling is that of being uplifted. One might expect to feel overly saddened by the story, but I found that was not the case. And Johnson and Holt both spoke about how important it was to the cast and crew to present this story through a lens of joy.
“We have made a very earnest effort to make the show uplifting, inspirational, and joyous despite the subject matter,” Johnson says. “So I hope folks see there is joy in Black experience at all times.”
Holt adds, “Simply see it, process it, and examine how you will walk forward from the experience.”
Scottsboro Boys runs at Playhouse on the Square through February 19th.
