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| Last update: August 7, 2010 |
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The Guthrie engagement at McGuire Proscenium Stage continues through Sept. 25 and features refinements and changes since the show's spring world-premiere run at Off-Broadway's Vineyard Theatre. Susan Stroman again directs and choreographs. The libretto is by David Thompson (Steel Pier). Music is by Kander, lyrics are by the late Fred Ebb, with some additional lyrics by Kander. Commercial producers Fran and Barry Weissler plucked up the property in the spring and are carrying it to Broadway, with a few cast changes since the Vineyard. "We're really tweaking it," producer Fran Weissler said of the Guthrie run. "We added a song, we took away a song. Susan [Stroman] and John [Kander] and Tommy [librettist David Thompson] have a chance now to do it again. You look at what you've done and think, 'I did it. Now I have the time to really look at it, and maybe I can do more.' Every day, something new happens. We have a few new actors on top of that, so it's very exciting." Most notably, Joshua Henry, who created the "Favorite Son" military hero in Broadway's “American Idiot”, now stars as one of the central figures in the case: He plays Haywood Patterson, one of nine young men wrongly accused of rape in Depression-era Alabama. Patterson is a focal point in the musical, and (at least Off-Broadway) got to sing the plaintive jail cell number "Go Back Home." Henry was featured in the original Broadway cast of “In the Heights” and in the City Center production of “The Wiz”. He also appeared in Paper Mill Playhouse's “Godspell”. Also joining the company at the Guthrie are Jeremy Gumbs as Eugene Williams and David Anthony Brinkley as The Interlocutor. On Broadway, Tony Award winner John Cullum will return to role of The Interlocutor, which he created at the Vineyard. Ken Billington is the new lighting designer. According to producers, "Based on the notorious 'Scottsboro' case in the 1930s (in which nine African-American men were unjustly accused of a terrible crime) this daring and wildly entertaining musical explores a fascinating chapter in American history with brilliant originality." The critically acclaimed production follows the lead of the script and borrows elements of the now-dead American theatrical form of a "minstrel show" — to make its social-justice points (and its theatrical ones, too). For much of the history of the form (which dates to the early 19th century), performances were acted by white men in blackface. All but one actor in Scottsboro Boys is black. THE SCOTTSBORO BOYS will open on Broadway Oct. 31 at the Lyceum Theatre. Previews will begin Oct. 7. Also at the Guthrie are ten cast members from the Vineyard production, who will re-create their performances on Broadway: Sean Bradford as Ozie Powell and Ruby Bates, Josh Breckenridge as Olen Montgomery, Derrick Cobey as Andy Wright, Colman Domingo as Mr. Bones, Rodney Hicks as Clarence Norris, Kendrick Jones as Willie Roberson, Forrest McClendon as Mr. Tambo, Julius Thomas III as Roy Wright, Sharon Washington as The Lady and Christian Dante White as Charles Weems and Victoria Price. A cast album was recorded in recent weeks; a fall release from JAY Records is expected. The Scottsboro Boys is the winner of the 2010 Lucille Lortel Award for Outstanding Musical and the 2010 Outer Critics Circle Award for Outstanding Off-Broadway Musical and a 2010 Drama Desk Award for Outstanding Lyrics. The Broadway creative team includes set designer Beowulf Borritt, costume designer Toni-Leslie James and sound designer Peter Hylenski, orchestrator Larry Hochman, musical arranger Glen Kelly and music director David Loud. THE SCOTTSBORO BOYS will be produced on Broadway by Barry and Fran Weissler, Jacki Barlia Florin and The Vineyard Theatre." For information about the Guthrie run, visit guthrietheater.org. Broadway tickets ($39.50 - $131.50; Premium $251.50) are available by calling Telecharge.com at (212) 239-6200 or online at www.telecharge.com.. Performances will be Tuesday through Sunday at 8 PM, with matinees Saturday and Sunday at 3 PM. For more information, visit www.ScottsboroMusical.com. in Playbill On-Line by Kenneth Jones / photos © Paul Kolnik |
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Tony Award winners Roger Bart and Shuler Hensley reprise their Broadway roles as YOUNG FRANKENSTEIN and his Monster, respectively, in the national tour of Mel Brooks and Thomas Meehan's musical comedy. Director-choreographer Susan Stroman's road cast also includes Cory English (Igor), Tony Award nominee Brad Oscar (Inspector Kemp/Blind Hermit), Beth Curry (Elizabeth), Joanna Glushak (Frau Blucher) and Anne Horak (Inga). The company also features Preston Truman Boyd, Stephen Carrasco, Jennifer Lee Crowl, James Gray, Shauna Hoskin, Matthew Brandon Hutchens, Kristin Marie Johnson, Sara Lin Johnson, Melina Kalomas, Amanda Kloots-Larsen, Brittany Marcin, Christopher Ryan, Lara Seibert, Geo Serry, Jennifer Smith, Matthew Vargo and Eric Walck. Here's how show producers characterize the show: "Based on the Oscar-nominated smash hit 1974 film, YOUNG FRANKENSTEIN is the wickedly inspired re-imagining of the Mary Shelley classic from the comic genius of Mel Brooks. When Frederick Frankenstein, an esteemed New York brain surgeon and professor, inherits a castle and laboratory in Transylvania from his grandfather, deranged genius Victor Von Frankenstein, he faces a dilemma. Does he continue to run from his family's tortured past or does he stay in Transylvania to carry on his grandfather's mad experiments reanimating the dead and, in the process, fall in love with his sexy lab assistant Inga?" in Playbill On-Line by Irina Khodorkovsky |
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Based on the novel "The Tale of the 1002nd Night" by Joseph Roth, PARADISE FOUND features a libretto by Richard Nelson (James Joyce's The Dead, Two Shakespearean Actors), music by Johann Strauss II, lyrics by Tony Award nominee Ellen Fitzhugh (Grind, Herringbone) and music adapted and arranged by Oscar, Tony, Grammy and Emmy winner Jonathan Tunick (Titanic, Sweeney Todd, A Chorus Line, Nine). Rehearsals for the musical comedy began April 5 in New York City. The company then flew to London to complete rehearsals (and tech the show) toward the first preview at the intimate venue where Broadway's current “A Little Night Music” and “La Cage aux Folles” got its start. Paradise Found plays to June 26. The company includes Tony Award nominee Kate Baldwin (Finian's Rainbow, Wonderful Town), Tony winner Hensley (Oklahoma!), Tony winner Kaye (The Phantom of the Opera), Tony winner Patinkin (Evita), five-time Tony nominee John McMartin (Sweet Charity, Follies, Grey Gardens), Tony nominee Nancy Opel (Urinetown, Toxic Avenger), George Lee Andrews (The Phantom of the Opera, A Little Night Music), Amanda Kloots-Larsen (Young Frankenstein), Lacey Kohl (Carousel, Cry Baby), Herndon Lackey (Parade, Kiss of the Spider Woman, Les Misérables), Daniel Marcus (Pal Joey, Urinetown, Adding Machine), Jim Poulos (Rent, The Adventures of Tom Sawyer), Martin Van Treuren (Candide at New York City Opera, How the Grinch Stole Christmas) and Pamela Winslow Kashani (Into the Woods, Beauty & the Beast). |
According to the producers, "Based on a true story, the highly comic and romantic musical PARADISE FOUND is befitting of an Arabian Nights tale. It all starts with the Shah of Persia, who is feeling low. To lift his spirits, he's off to Vienna with his Eunuch in tow for new adventures. The Shah promptly falls in love with the Empress of the Empire, much to the dismay of her husband, so a resident of the local brothel — who is a double for the Empress — is substituted for a night of passion. But she's in love with a Baron, who's having an affair with the Soap Manufacturer's Wife…" The production features scenic design by Beowulf Boritt (LoveMusik, Spelling Bee, Rock of Ages), costume design by Tony Award winner Judith Dolan (Candide, Parade), lighting design by Tony Award winner Howell Binkley (Jersey Boys, Kiss of the Spider Woman, Memphis) and sound design by Gareth Owen (A Little Night Music). Music director is Charles Prince (James Joyce's The Dead). PARADISE FOUND is being produced at The Menier Chocolate Factory by special arrangement with New York producers Jeff Berger, Apples and Oranges Productions/Tim Kashani and Pamela Winslow Kashani, Tony Ponturo, Andy Sandberg and Whitney Hoagland Edwards. The producers are hoping for a commercial life for the show in the U.S." For tickets and information, visit www.menierchocolatefactory.com/paradise_found or call the Menier Box Office in London at 020-7907-7060. in Playbill On-Line by Kenneth Jones |
May 22, 2010 - THE SCOTTSBORO BOYS Wins Outer Critics Circle Award - The Vineyard Production of the new musical by John Kander and Fred Ebb, THE SCOTTSBORO BOYS sharde the Outer Critics Circle Awards for Outstanding New Off-Broadway Musical with ”Bloody Bloody Andrew Jackson”. by Jorge |
Kander and Ebb new musical, THE SCOTTSBORO BOYS got 9 nominations: The Drama Desk is an organization of theatre critics, writers and editors that honors excellence in all areas of New York theatre: Broadway, Off-Broadway, Off-Off-Broadway and not-for-profit. by Jorge and in Playbill On-Line by Andrew Gans |
In production categories, THE SCOTTSBORO BOYS by David Thompson, John Kander and Fred Ebb was named Outstanding Musical, and Susan Stroman won Outstanding Choreographer. That show was also nominated for Outstanding Lead Actor for Brandon Victor Dixon. The Lucille Lortel Awards are produced by the Off-Broadway League by special arrangement with the Lucille Lortel Foundation. The Lortel Awards ceremony is a benefit for The Actors Fund. Additional support provided by Theatre Development Fund." For more information, visit www.LortelAward.com. in Playbill On-Line by Kenneth Jones |
"Based on the true story of nine men falsely accused of raping two white women on a train traveling through Alabama in 1931, the inventive, consistently thought-provoking musical is performed as if it were a traveling minstrel show, presided over by the white Interlocutor (a winningly smarmy John Cullum), who has at his disposal an 11 member African-American ensemble. The company is led by Mr. Bones (Colman Domingo) and Mr. Tambo (Forrest McClendon), who play a variety of the Caucasian men who figure prominently in the Scottsboro case. The balance of the company members play the accused men as well as the ancillary characters during their ordeal... “The production, guided with elegant simplicity by director-choreographer Susan Stroman, unfolds with rapid fluidity on a stage that scenic designer Beowulf Boritt outfits with a dozen chairs and a few boards, which are inventively rearranged to represent a variety of locations. And, as lit by designer Kevin Adams, the illusion of shifting from boxcar to jail cell to sun-filled courtroom is complete. |
The minstrel-flavored routines that propel the narrative tend to lack the sharp, savvy ear of Kander and Ebb’s period pastiche numbers in earlier musicals (or the wit of Ms. Stroman’s winking choreography for “The Producers”). And you may find yourself thinking of more trenchant and imaginative use of minstrel-show devices by other artists, including the Wooster Group (with its black-face “Emperor Jones”) and Kara Walker (whose cut-out paper silhouettes are brought to mind by a shadow-play sequence)... With “Scottsboro” it is as if the events on which it is based are still too raw and upsetting to be treated with too much panache. Though it features some high-kicking dancing from its personable and industrious ensemble, this production gives the impression of always treading carefully, with furrowed brow, stooped shoulders and an accusatory glare.” |
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Every song has a purpose, and even in the most buoyant explosions of Stroman’s period-flavored choreography, dance is fully integrated into narrative in a show that packs dazzling physicality onto a small stage... Styled in a brassy 1930s musical vernacular and played by a band of eight, the songs are the catchiest bunch to come along in a new tuner in years. “Commencing in Chattanooga” simulates the propulsive rhythm of train travel; “Southern Days” plasters a subversive smile over its paean to a lopsided world of white privilege and black subservience; “Electric Chair” combines tap and sizzle to macabre effect; “Shout!” is a sadly hollow celebration of freedom; and “Financial Advice” is a hilariously un-PC vamp about the convenience of “Jew money.” The latter number is among the high points as performed by the marvelous Domingo.” |
February 27, 2010 - Susan Stroman's Next Dance Musical - "Once Susan Stroman gets THE SCOTTSBORO BOYS up and struttin’ March 10 at The Vineyard, her next theatrical move will be toward pirouettes and pas de deux. in Playbill On-Line by Harry Haun |
At that theatre, Susan starred in APPLAUSE, PROMISES PROMISES and THE MUSIC MAN (according to Richard, there’s a chance she was also responsible for the choreography or direction of that show; something she would brilliant do many years later on Broadway). You can see the three photos by clicking here. Have fun.
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March 16th, 2008 - Trivia About SUSAN STROMAN in the 70s - Imagine my surprise one when, a few weeks ago, I received an email from a guy who worked with Susan back in the early 70s. He, not only sent me a few pictures of those times, but also had some trivia regarding her. As you can imagine I asked him permission to use the pictures and the piece of information he gave me, so here it is both with the blessing of Richard Mullin. Back in 1974, Richard worked with Susan in the dinner theater production of WEST SIDE STORY – the show played for 32 performances during January, February and March 1974 at the 3 Little Bakers Dinner Theater in Kennett Square. She played the role of Velma, one of The Jets Girls, and Richard was Officer Krupke, Gladhand and a detective. |
| Susan and Debbie Bouma in WEST SIDE STORY |
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According to Richard “In those days, Susan was still a student at the University of Delaware and I was a public school teacher whose evenings were spent being a character actor in regional community and dinner theaters. Susan was obsessed dancing. When she wasn’t onstage, she was usually off in a corner trying out tap steps with several other cast members – namely Debbie Bouma, Scott Newborn and Rick Ginn. The four of them would move in unison while Sue spoke that “Step, Ball, Change” dance language of hers softly, yet rhythmically, to them. The cast spent a lot of time together over four months – we rehearsed during December 1973 and early January 1974. On production nights, we’d go through the dinner theater line and have our evening meal together before the show and after the show go out for a nightcap or party before heading home. That continued until the show closed in March”. |
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| Susan and Rick Ginn | Susan and Terrance Versailles |
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On the Summer of 74, Susan and her friend Debbie Bouma visited California, where they attended a taping of Johnny Carson’s TONIGHT SHOW, although in that day Carson was replaced by Joey Bishop. They “sat in the front row wearing their tap shoes. He spotted them, actually asked them their names and they danced a couple of steps and got some applause. It was broadcast nationally!” I would love to see this someday. While still in California, ”they attended an on-location night shooting for the movie THE TOWERING INFERNO. They became crowd extras (uncredited of course) in the scenes showing the public watching the fire as the fire engines arrive.” I guess the next time I see THE TOWERING INFERNO I’ll try to locate Susan among the extras. During those days, back in New York, it seems that Susan and Debbie went to Fisherman ’s Wharf, where they danced and picked up tips from the crowd. Who would have guessed that one day Susan would be such a great name on Broadway. Thanks Richard for all these information and for the pictures. by Jorge / photo © Richard Mullin & Fr. Coppinger (the color one) |
| Susan, Debbie Bouma and Rick Ginn in WEST SIDE STORY |
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Co-director Prince is a 21-time Tony Award winner (the original productions of Cabaret, Sweeney Todd, A Little Night Music, The Phantom of the Opera, Company, Follies, Evita), and Stroman is a five-time Tony Award winner (Crazy For You, Show Boat, The Producers, Contact). This is their first collaboration since their staging of the Tony Award-winning revival of “Show Boat”.
“It is a sad but certain truth that for pure entertainment value guilt nearly always trumps innocence. Should you require incontrovertible evidence of this basic law of show business, take a look at the new musical from the fabled songwriting team of John Kander and Fred Ebb, which opened Wednesday night at the Vineyard Theater. This solemn, virtuous enterprise is called “The Scottsboro Boys,” and it wears its halo like a barbed-wire hat...
“Director and choreographer Susan Stroman, who learned about staging a taste-challenged musical with “The Producers,” is in top form here. “The Scottsboro Boys” is framed as a minstrel show, with Cullum playing the supercilious Interlocutor and a company of extraordinary dancer-singers telling the story, written by David Thompson.
“In addition to riveting material and toe-tapping songs shot through with wry humor, the Vineyard Theater premiere also benefits from a tremendously talented cast of song-and-dance men, from music director David Loud’s luscious vocal arrangements, and from the muscular staging of directorchoreographer Susan Stroman, working at the top of her game...
