The Scottsboro Boys may be in its final week on Broadway due to disappointing ticket sales, but theatergoers packed the Lyceum Theatre for Thursday night’s performance. Following a sold-out show, in which composer John Kander and director Susan Stroman were in attendance, producer Catherine Shreiber introduced a panel of historians that lead a post-performance discussion of the historical importance of the Scottsboro episode.
CBS News’ chief legal correspondent Jan Crawford took the stage, visibly moved by the performance, and announced that she was throwing out her prepared introduction. “I had prepared a little speech about how this [talkback] would illuminate the issues of law and injustice, because that’s what I cover, but I’m throwing all that out,” Crawford said. “This was a play frayed with humor, but I didn’t really laugh. For me growing up in the south, Bull Connor turning fire houses on peaceful protesters [feels like] just the other day. Sunday school girls getting killed in a bombing of the 16th St. Baptist Church [feels like] just the other day.” Crawford went on to comment how the nature of the Scottsboro incident shares parallels to today’s headlines. Read more
We all know that Broadway and hamminess go hand in hand. One is just a part of the other as peanut butter is to jelly. Yet the level of obnoxiousness that Sherie Rene Scott reaches in her one-woman show Everyday Rapture is downright off-putting.
- The Broadway portion of Las Vegas
- The Scottsboro Boys has a rush policy, but no rush tickets
- Evan Rachel Wood backs out of Spider-Man Turn Off The Dark
- Steven Sater: Spring Awakening film could begin production as soon as fall
- Broadway grosses
Editor’s note: In the spirit all the exciting changes that are occurring with this blog, it is my pleasure to present Stage Rush’s first guest blogger, Kym Formisano.
When Jesse asked me to be the very first guest blogger for Stage Rush, I cannot deny the wave of complete and utter fear that washed over me. I certainly questioned his sanity briefly; after all, handing Stage Rush over to little old me is akin to entrusting a homeless man on the subway with your firstborn. Ok, that might be a slight exaggeration. But there was a huge amount of trepidation and anxiety on my part, especially when I discovered I would also be covering the first off-Broadway play to be discussed on the blog. Gulp.
As it turns out, I had little need to be so concerned. Actually, what began as a nerve-wracking trip to the always-beautiful Union Square turned into not only one of the easiest and most efficient rushes I’ve done, but also a powerful and vivid theatrical experience matched only by the energy and undying vigor of the show’s star.
Colman Domingo, one of the players in the gone-too-soon masterpiece Passing Strange and its recent film adaptation by Spike Lee, stars in the one-man show he authored, A Boy and His Soul, at the Vineyard Theatre. The Vineyard, previous home to shows like [title of show] and Avenue Q, is an unassuming brick structure with a quaint sensibility (before a certain time, one must be buzzed into the lobby) and an interior that brings to mind a combination of a small-town theater company and a modern art gallery. Because of the erratic nature of some off-Broadway theaters and their rush policies (I’m looking at you, Atlantic Theater Company), I decided to check with the receptionist well before show time to make sure I had the correct rush policy information. After being buzzed in by a super-pleasant voice, I entered the lobby and was immediately greeted by an enthusiastic and helpful box office attendant. The rush policy here is fairly standard: show up two hours prior to curtain with cash in hand and receive up to two tickets at $20 each. It is also a general rush, so don’t worry if you’ve lost your student ID. I left with a sense of confidence, ready to return at 5 p.m. and purchase my tickets. Read more