The Scottsboro Boys

I booked tickets to see The Scottsboro Boys as soon as I’d read all the rave reviews, and was not at all disappointed.  At two hours long with no interval it could have dragged but with stunning dance routines, amazing vocals and a captivating story I was engrossed from start to finish.

The Scottsboro Boys
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I wasn’t aware of the real life story of the Scottsboro Boys before this show but won’t ever forget it.  For those of you who don’t know, the Scottsboro Boys were nine African American teenagers who were arrested on a train after fights broke out between white and black men.  The teenagers were on their way to find work and start new lives.  They were wrongly accused of raping two white women and this accusation affected the rest of their lives.  The following trials and legal complications lasted years without a happy ending for any of the boys. The Scottsboro Boys Act was only just signed this year by Alabama Governor Robert Bentley, posthumously exonerating the last eight Scottsboro Boys (Clarence Norris, the last of the nine to survive, was declared not guilty in 1976).  How nine innocent lives could be destroyed because of one lie, and the judicial systems refusal to accept the truth, is a heart-breaking story but one that needs to be told and this show is an excellent platform.

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The show is presented as though a minstrel show, an uncomfortable format to watch especially considering the fact that four of the freed Scottsboro Boys appeared in minstrel shows themselves in Harlem, New York in 1937.  In the programme it describes how journalists referred to the trials as a minstrel show or describes how the nine boys were paraded around as if in a show. This show has turned the original format of a minstrel show on its head to tell the Scottsboro Boys story, perhaps a risky move however one that adds impact to the show leaving a bitter taste in your mouth. 

Traditionally minstrel shows used white actors to portray African Americans in disrespectful ways but in this show the nine actors who play the Scottsboro Boys also play the parts of white prison guards, sheriffs and judges.  Other elements of minstrel shows that featured were the semicircle of chairs, however in this show the chairs are also used to portray all the buildings and objects in the set including the train, jail cell and courtroom.  At the end the actors “visibly deconstruct this stilted and offensive form of performance”, in the words of director Susan Stroman, they “literally deconstruct that minstrel form and walk away from it”. Spike Lees film ‘Bamboozled’ also tackles the subject of the minstrel show. While studying African American music at University I watched this film and despite watching it over a year ago it still haunts me.  Its premise is similar to that of The Scottsboro Boys, with black actors wearing blackface make up. But this film takes it one step further by creating modern minstrel shows that become a hit. The violence resulting from this and the horrific end of the film is gritty and tough to watch, and I couldn’t help but think of this while watching The Scottsboro Boys.

Mr Tambo and Mr Bones
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 As the show is presented as a form of entertainment, with the traditional minstrel show characters Mr Tambo, Mr Bones (comic prankster characters) and The Interlocuter (the “master of ceremonies”) it could be easy to forget the severity of the story.   However there are some powerful moments. The one that sticks in my mind is a tap dance sequence representing one of the youngest boys, Eugene Williams’ nightmares about the looming threat of the electric chair.  It is an amazing routine, with stunning choreography yet a dark undertone, making me question whether I should be smiling at the impressive performance or grimacing at what it implies.  A particularly powerful moment is when the boys are despairing as to why they are still seen as guilty, even after one of the women who originally accused the boys of rape has retracted her accusation.  Their lawyer shouts “It’s because of the way you look”.  There are so many moments that left an impact with me I could go on for hours, but I wouldn’t want to spoil the show to anyone that wants to go so I’ll leave it at that. 

"Commencing in Chattanooga"

The Scottsboro Boys is a fantastic show that sensitively, occasionally humorously and powerfully tells the story of nine innocent boys whose lives were forever changed, and in turn whose lives and experiences with the U.S. judicial system “helped to inspire and solidify the American Civil Rights Movement”.  It’s shows like this that make me convinced theatre is the most powerful and moving art form out there, truly storytelling at its best.

(All quotes taken from The Scottsboro Boys Programme – Young Vic)

If you'd like to read more reviews I've written head to www.everything-theatre.co.uk

"Cheer up love" NO

In the last week I have had to put up with three occasions of men, strangers, making me feel uncomfortable. The first was a drunk man sitting next to me on a train, initially he just asked if the train was going to a particular stop.  This led to him trying to make conversation with me despite the fact I had my headphones on.  He told me I was pretty then tried to create conversation all the while leaning further and further in.  After a couple of minutes, as he was reaching for my leg, I got up and pushed passed him to the next carriage.  I was so angry that this strange man felt he could just act like this, and I have to say that despite it was a busy train no one else stepped in. 

Other instances in the last week include a man, again a complete stranger, grabbing my shoulder saying “oo steady love” on the train when it wobbled slightly.  If he’d saved me from falling I might have accepted it, but he wasn’t, I was sitting down.  The latest was something I encounter frequently, “cheer up love”. I’m walking on my own in the rain; I’m not going to walk around with a massive grin on my face just for you. 

I’ve been getting increasingly riled over these instances and coincidentally, as it would be hard to ignore, the sheer scale of inequality between the sexes is getting a higher profile in the media.  I’m not saying men don’t suffer from drunken women trying to chat them up or older women making a comment about a younger man. I just highly doubt it’s a weekly occurrence for the majority of men.

Feminism is a big topic at the moment, from Elles Feminism campaign #makethempay to all the debate regarding the music industry with you know whose twerking and Lily Allens new song ‘Hard Out Here’. Whatever kind of stand we make something needs to be done about the everyday sexism many women receive. And no, shouting “Nice legs” out of a moving car at me IS NOT a compliment. Apparently I’ll miss this when I’m older but I doubt it.

Feminism is considered by some as a bit of a dirty word and there is much debate about it at the moment.  I say I am a feminist because I believe all women should have equal opportunities (and equal pay) to men – simple as that. And if they can stop commenting on my appearance when I'm walking down the street I'd appreciate that too.  A date fairly recently told me it was a woman’s DUTY to clean/cook/look after the house, whatever the woman’s income or career path.  Needless to say that didn’t go much further.

I know I am only glazing over such big topics here, but felt that a general comment was needed. Maybe if I get even more angst’y more blog posts will follow… watch this space!

A Weekend of Music and Poetry

So this weekend I had a few treats lined up for myself, a band I’ve loved for a while and a performance poet like no other.

Friday night I headed to Koko opposite Mornington Crescent station (finally an excuse to go there after years of listening to I’m Sorry I Haven’t a Clue). I’d never been to Koko before and it’s a stunning venue.  Originally one of the largest theatres outside of Londons West End, the stunning interiors of the theatre remain and make it a truly special place to hear live music despite the extortionate cost of a gin and tonic. 

I was there to see Submotion Orchestra, a band I became slightly obsessed with over the summer and will listen to at least twice a week even now, I’m yet to get sick of them! I was intrigued to see how their music would manifest itself live. They sound incredibly like their albums live, although perhaps too much so. If I shut my eyes at points I could have just been listening in my room, whether this is a good thing or not is up for debate.  It also felt weird that the audience was fairly static, at least around me, all facing the stage even during more improvised ‘dancey’ parts of the show.  It was a great gig though, in the words of my lovely friend Jess “Lily, you look so happy”, and I was, even if they didn’t play my favourite track.

Gorgeous version of my favourite Submotion Orchestra track at the 2011 St Pancras Station Sessions

Next up in my culture filled weekend was a trip to the Royal Court to see Kate Tempest.  I was excited to see Kate as this piece of work, ‘Brand New Ancients’, was first co-produced at Battersea Arts Centre where I was recently the press placement. I’d heard lots about her whilst working there and even compiled a press book of all the coverage she had received so far. I’ve never seen poetry performed before, I have to say I was intrigued to see how I’d respond and how 75 minutes of poetry would manifest itself as a performance. I needn’t have had any concerns. 

There’s much talk about Russell Brand at the moment, and his strong words about how to make changes and shake things up however I think Kate Tempest is the one we should really be watching.  Her scarily accurate observations on life and the way we live today could teach us all a few things. A particularly hilarious yet thought provoking section discusses celebrities, talent shows and Simon Cowell.  Knowing nods were seen throughout the audience after the line:

“I don’t know the names of my neighbours,

but I know the names of the rich and the famous.

And the names of the ex-girlfriends

And their ex-girlfriends’ new boyfriends.”

Kate comes across as such a likeable character, she seems shy at first and is truly in awe of the space she is performing in yet once she gets involved with her words it is like something is taking over her. She is fascinating to watch. I particularly liked moments when she makes side comments at the audience, or a knowing look that provokes a laugh.  One of the best moments for me was this:

“She’s got a far away look in her eye, like she’s always had,

the kind of look that makes strangers say it ain’t so bad

love, is it?”

After this line she gives an exasperated look to the audience provoking knowing laughs, this is one of my absolute pet hates in the many inappropriate ways that some men treat women so I’m glad Kate makes this observation.

There were many moments in this performance when I was so involved in the story I had goose bumps all over and felt like it was just the two of us in the room, Kate was telling this story just to me.   I became so involved in the stories of the characters it was hard to believe all this came from one person rather than a cast of actors.  I went to see this show with my Mum, and she felt exactly the same, stating afterwards that at some points she wanted to shout out to the characters. Such a powerful story of two families whose lives intertwine, Kate is demonstrating how old myths live on however as I am not that clued up on my classic mythology I think I did miss some references.

I couldn’t leave this post without mentioning the music; just four musicians on stage create the atmospheric backdrop for Kate featuring a tuba, percussion, violin and cello.  Using lots of different effects, which gradually build to powerful climaxes as Kate’s words reach powerful intensity. As her words build in climax she transfers from storytelling to rapping and at times almost crying out or singing.  Occasionally these build ups in the music can make Kate hard to hear however this is a tiny criticism of such an amazing experience.  

It’s not very often my Mum and I are speechless but leaving the theatre we found it hard to communicate beyond just going ‘Wow’, I’m glad there were no busy roads to cross between the theatre and the tube as we were certainly in some kind of a daze for a while. The standing ovation Kate received was truly deserved and her obvious excitement at this was brilliant to see. She’s touring Brand New Ancients until April and I wish I could see it for the first time again, although booking another date is very tempting.

Mojo

Despite struggling with the first 5 minutes to grasp what was being said Mojo was a brilliant production, funny, gritty and hard hitting.  While the play itself has its merits the cast stole the show! It would be hard to pick one actor who stood out, as they were all brilliant.  I harbour a certain amount of love for Ben Whishaw ever since the dreamy 'Bright Star' in which he plays Keats during his love affair with Fanny Brawne up until his untimely death as well as the, sadly unrecognised, brilliance of 'The Hour', and have to admit this was my main motivation for seeing the play.  I sadly missed out on tickets to see Ben in ‘Peter and Alice’ so this was my chance, (I sound slightly like a crazed fan, it’s just admiration – honest).  He didn’t disappoint, from his opening scene in which he cockily struts onto the stage, quiff and all, singing, to the shock end of the play as we see his character slowly lose his mind.  Another stand out cast member for me was Brendan Coyle, or as he was probably known to most of the audience Bates, however you soon forgot about the brooding servant as Brendans character becomes a threatening gang leader, with a dark secret.

The play is set in 1950s Soho, a dark and mysterious place where gang warfare was dominant and the sleaze factor high! Set in a club, the first act in the upper offices and the second in the club space, the play depicts the relationships between the men through comedy and tragedy.  Much of the ‘banter’ between the men was not dissimilar from what you witness at London Bridge past midnight on a Friday night, or indeed anywhere where male friends are drinking, taking drugs and picking fights with each other, although hopefully they do not all involve a sword!  While quite dark there were some truly hilarious moments, including Sweets (the guy who sorts the “sweets”) trying to throw up but shouting “I’ve got no sick, I’ve got no sick”. There were moments you found yourself laughing when in actual fact the events taking place were no laughing matter or times when other members of the audience were hysterically laughing and you could not see the funny side in such a dark situation, which I suppose is the point of a black comedy.

I can’t say this play will stay with me in the way that some plays I’ve seen recently will, perhaps it was the fact that I could not, on any level, relate to the characters or the plot.  However the cast are tremendous! Rupert Grint makes his professional stage debut in Mojo, and the great chemistry between him and Daniel Mays, reminiscent of the kind of on screen chemistry Laurel and Hardy do so well, shows that this will certainly not be his last stage success.  Mojo is worth seeing alone for stars of the stage and screen working together with such professionalism and talent that you feel privileged to witness it, and I have to say my admiration for Ben Whishaw has not faded in the least.

My favourite moment from 'Bright Star' - Ben at his best in my opinion!

IJAD - my final thoughts

On Wednesday night I eagerly headed back to the Science Museum to see the final performances of Infinite Space as part of the Museums Space themed Late. I was excited to see the final product and see all the elements from rehearsals come together so here’s my final post about the project.

Here's a few video clips from the final rehearsal

The performance was all about making the audience directly involved with the performance through Twitter. Before entering the performance space audience members are asked to Tweet their replies to three questions using the #infinitereach –

What is time?

What is infinite space?

What is the center of the universe?

The answers to these questions were then projected onto the walls of the performance space, and I excitedly spotted my Tweet emerging on the walls a few times. I had initially expected the tweets to directly impact the performers during the show, perhaps a section where they are interpreting the Tweets audience members are sending in live would have taken further advantage of this idea.

The audience were led into the space and settled down, however I had initially expected the audience to move around and feel that some audience members may not have had the complete experience in this instance.  For example from the front of the performance area you could see projections covering the whole space which created a tunnel like effect, especially when the dancers were in a line, however from the sides you would not have got this impressive effect! Some members of the audience twigged this and moved, and although there was probably not enough space for all the audience to be in this one space it was still a shame.

One of the biggest developments of the performance was the way in which juggler and dancer interacted.  From initial experimenting I had witnessed I wasn’t entirely convinced about how it would work. However the final performance demonstrated how well this idea had come together. The section that I particularly liked involved just two performers, with the dancer and juggler passing balls between them and seamlessly incorporating these movements into a dance routine. 

Throughout the rehearsal process I had wondered about the use of music, none seemed to be used to rehearse with which I have to admit struck me as slightly peculiar. This all became clear on the day when I entered the dress rehearsal and saw and heard a beat boxer creating all the sound for the show.  He was incredibly talented and the music created suited the themes and performance perfectly! As a musician I find that the music is what most sticks and affects me from any kind of performance and can in fact make or break my opinion of a production. In this instance the beat boxer made the performance a whole and a fantastic experience.

I have found my time as an embedded journalist for IJAD hugely rewarding and think that the final performance had a much greater impact for me after seeing the rehearsals leading up to it.  This reminded me of a discussion that took place at the recent Critics Circle Conference I attended, the discussion was around whether critics should be allowed to see rehearsals ahead of the official opening or press night of a show.  This split opinion across the panel, and I’m sure throughout the audience, as some regarded rehearsals as a private space where actors, or indeed any type of performer, can feel relaxed without the beady eye of a journalist on them! However, and I by no means pretend to be in the league of the critics on the panel, I feel that being part of the rehearsals in this instance created a sense of ownership of the piece and amongst the many emotions on the night pride was one of them. Would I have felt proud of the performers had I not seen what had been achieved in such a short space of time? I don’t suppose I would.  This is only touching on a topic that could be discussed at great length, but from my personal perspective over the past few weeks I would say invite critics in – if you dare.

Here's a few bits from one of the performances on the night including one of my favourite moments when it seems as though a burst of electricity has been shot through the dancer - perhaps alluding to the Big Bang?

One final note, I'd like to thank IJAD and in particular Camilla, for this opportunity to gain some insider access to their work.