When I moved over to this site not everything came over in the same way.  So when I have moments between the crazy things going on in my life I am trying to make sure to move over the other articles.  So as these items come in, please feel free to re-read them or delete them, which ever works for you.  I have actual new articles coming along soon, so you have that to look forward to reading soon!  Yay!!

I love Shakespeare.  I love Joss Whedon.  Imagine how much I love the news that the muchly anticipated (by me at least) film version of MUCH ADO ABOUT NOTHING by Joss Whedon and starring some of my favorite people to ever grace my screen will be released in June of next year.  (Hint: So. Damn. Much)

Add in that this is one of my favorite plays by Shakespeare and I think my anticipation level has propelled me to wish I could invent time travel.  Or find a time traveling Doctor in a blue box, but that’s a totally different conversation.

This film was shot in 12 days at Whedon’s Santa Monica home in black and white and is a contemporary take on Shakespeare’s story of two pairs of lovers.  Benedict and Beatrice are engaged in a “merry war”, using each other as verbal sparring partners as they trade barbs about love, marriage and each other.  Claudius and Hero are their foils as young lovers who are so overwhelmed by love that they can barley bring themselves to express themselves.  Add in a completely inept sheriff, a villain who has some bungling henchmen and a Prince and this story has everything it could possibly need!

This contemporary adaption features people that audiences may be familiar with from Whedon’s universe, including Amy Acker, Nathan Fillion, Sean Maher, Clark Gregg and more.  I am a fan of all these people, and by having them together being directed by a person whose catalogue of things I adore I cannot think of a thing that I would like to see more.

I think to a bigger point this is a thing that I love about how theatre, and specifically Shakespeare, can be adapted for and by people with different visions.  In the past few years we have seen Shakespeare set  in a stylized Miami (ROMEO AND JULIET), set in a high school (TAMING OF THE SHREW –“10 Things I Hate about You” and “O” for OTHELLO), a musical (LOVE’S LABOUR’S LOST).  While sometimes the argument is made that Shakespeare is not relevant for this modern day and age, I love that every year there is Shakespeare being adapted on stage and screen.  I can’t wait to see what this next incarnation looks like!

Jekyll and Hyde is based on the short story by Robert Louis Stevenson. It follows a scientist who is driven to find a solution to challenging medical problems. Denied the ability to run his experiments he decides to try them on himself and unwittingly unleashes his hidden demons. Tony® and Grammy Award® nominee Frank Wildhorn and Oscar® and Grammy Award® winner Leslie Bricusse have updated this dark and dangerous story to suit the powerful and contemporary vocal stylings of its new stars Constantine Maroulis and Deborah Cox.

Laird gets excited about the prospect of bringing this show back with a new sharper edge. “I think that Frank, the composer and Jeff, the director have done quite an amazing job of giving it a new, more sexy, younger kind of sensibility, bringing a lot of freshness to the show. The new design of the show, it’s really exciting and it’s very cool for all of us. We got to go early in the process, Jeff (Calhoun) our director, took the whole cast to this giant warehouse within New York where they were building all the sets. So we had a chance to see the sets before we began really rehearsing the show. It really let us know what we were in for, what we could expect, and what we were going to be working with and then, of course, we saw the costume design as well. And we put the show up pretty quickly so it wasn’t too long before we were seeing those costumes in person and we were in them. It’s a great costume design. You know the look is kind of steampunk. That’s the design aesthetic that they’ve gone for, which is a real sort of Victorian, Industrial age look that meets well…punk.”

Mackintosh enjoyed his time touring in Mary Poppins and was excited at the prospect of being on a Broadway bound tour and working with its creators on updating it for this cast. “It’s just such a great opportunity and of course ‘Jekyll and Hyde’ is one of those iconic shows. The music we had Frank Wildhorn sitting in on rehearsals every day. It’s just an honor to have him there, to be performing his music and to have him helping, making changes, and giving us a new piece of music, tailor fitting the show to us as individual performers”.

Laird has an amazing background that started as a performer for the National Ballet of Canada, performing with them across Canada, the United States, and the world including Japan and Hong Kong. He made is musical theatre debut in The Phantom of the Opera starting as Raoul and as the cover for the role of the Phantom. He has also performed at the Stratford Festival, Toronto’s Opera Atelier and more. Since touring will take him around the United States before finishing New York, he is looking forward to the opportunity to tour again. “Every city is different and it’s a nice opportunity to get more exposure to different places. We’re going to a long break in Chicago, and we’re going to be back to Los Angeles in the New Year, and the on to Toronto. There’s going to be lots of nice opportunities on this tour, but mostly we’re excited about the chance to get the show out in front of people.”

He is also very excited about the chance to work with this cast. “Constantine is brilliant as Jekyll, in the dual role, Jekyll and Hyde. Deborah Cox is an incredible singer. Teal Wicks is amazing. Richard White really brings a great, kind of gravitas to his role. It’s just a great combination of people and the entire ensemble is just filled with fantastic, really, really strong singers, really strong actors. Everybody in the group is bringing a lot to the show. I think it’s really nice, as a group together, we’re a strong cast. It’s a great feeling to get out there and know that you’ve got a show that you’re really proud of.

Based on the short story by Robert Louis Stevenson “Jekyll and Hyde” follows a scientist who is driven to find a solution to challenging medical problems. Denied the ability to run his experiments he decides to try them on himself and unwittingly unleashes his hidden demons. Tony® and Grammy Award® nominee Frank Wildhorn and Oscar® and Grammy Award® winner Leslie Bricusse have updated this dark and dangerous story to suit the powerful and contemporary vocal stylings of its new stars Constantine Maroulis and Deborah Cox.

Most recently having played Elpheba in the powerhouse musical that is “Wicked”, both in San Francisco and in New York, what is it that drew her to this Broadway bound tour of “Jekyll & Hyde”? “The main thing is that I wanted to be part of something from the ground up into Broadway and this is been a lot of time to really work on a show before we bring it to the New York audiences and on the tour and you get to be so many different theatres and different types of audiences and really great way to get a sense of what’s working and what doesn’t work and how does it sort of synapse the characters and how to just really get a such a great sense of what the show is and touring is a great way to do that. You get to travel, and I love to travel and I love going to new places and whatnot. It is all of us doing it together, and it’s fun.”

Wicks character maybe a society girl but that’s not what drew her to the part of Emma, Jekyll’s fiancé. “I really like that she’s a very passionate woman. And I love that, I love passionate characters that are true and full of laughter that follow t their passions. I love that she’s this society girl who falls in love with an unlikely suitor and she’s completely committed to him and loves him for his passion and his commitment to his work and his drive.”

Teal says that this revamp of the musical is new to her since she wasn’t very familiar with the original version that premiered in 1997. Other than hearing a few songs, this is a completely new experience for her with this musical. “’I’ve never seen any version of ‘Jekyll and Hyde’ and I didn’t know the album, any of the previous albums very much. So that was actually cool coming with fresh head into this because I had no preconceived notions of the show and I, as far as I can tell, I really like the direction that we’ve taken it. We’ve tried to make it contemporary and sort of appeal to today and music”.

As Emma, Wicks has one of the most memorable songs in the show, a powerful duet with the character Lucy played by Deborah Cox. “It’s definitely one of my favorite moments in the show. I just think the song is such a beautiful song and it’s such a fantastic moment to be singing this epic song. Especially with Deborah,, because she is just stunning. It’s so fun. It’s such a huge moment. I think the audience loves it and it’s really great. I love that song.”

And the California girl, how does she feel about this opportunity to kick off this show in San Diego? “I’m excited to go to San Diego. I just love it!”

This show returns to Comic-Con for the fourth year in a row and I was able to talk fan favorites James Roday (Shawn Spencer), Dulé Hill (Burton “Gus” Guster), Maggie Lawson (Juliet O’Hara) about their theatrical past and futures.

Dulé Hill was last seen on Broadway in “Stick Fly” an experience that he says was a gift.

“Loved it. I love the stage I love the challenge of doing theatre. Kenny Leon is a great director and working with the cast Mekhi Phifer, Tracie Thoms, Ruben Santiago Hudsonwas a gift. And realizing you’re in the presence of greatness – cause Condola Rashad is a phenomenal actress and she is going to take the world by storm, cause she’s that good. Being able to experience that was a gift that I never expected to have.”

“We saw “Stick Fly” on opening night”, Maggie Lawson says of the cast support of Hill’s performance.

When asked about her own theatrical ambitions Lawson says,” I would do a play every hiatus if I could…honestly I think anything that you can do onstage to explore that is…challenging and emotional are the best roles. I would play anything on the stage.”

More recently, James Roday and his theatre company Red Dog Squadron, along with his business partner Matt Shankman, just became the proud new owners of the Los Angeles El Centro Theatre.

“It came on the market, I called Matt Shakman that has directed many episodes of Psych and has a theatre company as well and said, ‘What do you think?’ and he said, ‘Lets go for it’ and we ended up getting it. And now we have a lot of work to do. Lets hope this lights a fire under all of us at Red Dog to produce more now that we have the space.”

No matter the theatrical opportunities that come their way, the cast of “Psych” is happy to accept the challenge! For more information on the show Psych”go to www.USANetwork.com

I just used the ammo they gave me, all those packing peanuts

I made sure that I didn’t let one stray peanut out, so when they walked into the office they saw a nice, normal and neat office.

This cubicle belonged to someone who I KNOW without a doubt enjoyed pranking me, so I made his extra special by hitting every drawer, file, cup, shoe or container I could find.

I am sure this cubicle owner as irritated cause she is incredibly neat.  Which is fine, all of her stuff is still where she left it. Now it is just covered in a protective layer of peanuts.

The next two pictures are of the desk of the VP.  I worked as her assistant for years and knew she loved these pranks from her former place of employment.

I am touched she loved me enough to put this much work into torturing me and I wanted to reciprocate that feeling to her.

A Filing cabinet with extra room?  How convenient, I have something to fill it with!

This is another desk of someone who is super organized, the peanuts were a lovely and appreciated surprise for her I am sure.

She had sooo many drawers….

Just so many

My favorite part was the response to this was a declaration of upping the ante on pranks.  Mutually assured destruction, thats what all good friendships are built upon.

See, my co-workers come from a long tradition where someone who is leaving gets pranked. Usually their vehicle gets the brunt of their love and affection.  It’s how they show their love for someone.

First they saran wrapped my car doors closed, with a few parking violations thrown in.  The plastic went all around my car, they didn’t half ass this by just dong the parts you could see.

Then for good measure they added more violations to the windshield.  See inside?  Yep, the inside of the car was hit too.

Clearly my guard pig was not doing his job, since the car was filled to the brim with package packing peanuts!  See the above picture to see just how full the car was with them!

The view from the back seat…

I just couldn’t stop giggling, which did not help the clean up process.

This was after about an hour of cleaning and that is when I started finding the hidden balloons in the car!  Fun times

Of course they didn’t forget the trunk, that would be silly!

After about 2 hours we had 6 trash bags full of packing peanuts.  Have you ever tried to clean up packing peanuts?  It is a lot harder than it may sound.

All that work let me get into the drivers side, where I had to unwrap the wheel, the rearview mirror and the parking break.

2 hours later, this is how my car looked from the drivers seat.

My husband was super pleased when I pulled into the garage with my car like this. While it was a pain to clean up, it was awesome driving home in it.  With the window cracked it was like living in a snow globe.  And if I was in an accident (cause I was in a snow globe) the peanuts would have cushioned the bow, right?

Regardless, I miss them terribly but know that we will all still see each other.  I just wish they loved me a bit less.

However, now that we’ve seen both we have realized it is impossible to address them separately as they are so connected and entirely separate at the same time.

To clarify for you in this discussion R = Bella Rachel, EM = ErinMarie and M= Mysterious C

ommenter

R: Before we begin, I think it’s important we get this out of the way: Swoon at Benedict Cumberbatch; Swoon at Johnny Lee Miller; Swoon at the clothes. Are we good? Can we focus now?

EM: Hold please….SWOON (ok, I’m good now)

R: lalalala

EM: Very insightful

R: Shut up. You start.

EM: There are so many elements to this play, most of all the dynamic performance of the two leads, Dr. Frankenstein and his creature.  But first, I think we should set the scene and discuss the set, lights and music.

The set is an interactive turntable that also had a walkway through the audience for the actors to enter from occasionally.  This entrance always represented the society which Dr. Frankenstein inhabited, including the house and the church.

R: You sound really smart. Keep going.

EM: It’s all BS!

R: No, no, it’s brilliance!

EM: I am brilliant!

R: Your mind is superb!!

EM: So true…it is the coffee

R: The lighting was such an interesting element in this show. It really became another actor that the others played off of. From the very beginning of the show it played a role, being the thing which gave the creature life, which frightened the creature, which shone down lovingly on him. It was absolutely exquisite.

EM: Agreed, as I said when we were at the theater, I would love the fixture in my house.  It was this amazing amalgam of different lights and light fixtures and every time it went off it was different.  Sometimes a full flash, sometimes a subtle line of light that danced through the whole.  It was always a harbinger of change though, for good or bad.  So sometimes I wanted that damn light to stay off!

R: Absolutely. The music was another really interesting choice. It was very steampunk for a show that was very period. The initial interlude showing the creature coming into town and his first interactions with people was particularly vivid and almost shocking (to me, anyway) because it was so big and loud. During each scene change the rhythm and sound of that music was imitated. To me it almost added to the scariness of the show and the times.

EM: I agree that the music had a very steampunk vibe to it.  Especially in big scene changes, where the train came in, the wooden piers were being placed or the sled appeared.  These scene changes were big, involved more movement and props.  The music being very industrial and metallic gave the sense of work as well as a sinister sense of “what are they building next?”  I felt that this theme played well into the show at large, since it’s telling the story of a man building something that got away from him.
R: You put that so much better than I did.

EM: Nope

R: Are we on to the performance itself?

EM: Performance or themes

R: Let’s do performance and round it out with themes?

EM: Awesome, go…

R: I liked Cumberbatch. He was fabulous. The end.

EM:  Both men were delicious to look at in fitted Victorian garb.  The end

M:Really, that is all you need to say… (EM: we are keeping any and all commentary from this peanut gallery) (R: sorry for the intrusion folks, now you know what we deal with) (M: Don’t be jealous because you know I’m right)

R: Yay!! We are so good at this.

There was such a startling contrast in the ways the leads played the roles, which I had not expected to see. The way that Cumberbatch played the creature and Miller Dr. Frankenstein showcased that Dr. Frankenstein was really the monster. Cumberbatch’s performance showed the frustration the creature felt on being born and abandoned to learn on his own. He learned quickly, but had to go through all the steps to do so. From the very beginning, he was careful and methodical in learning how to walk, how to feel, how to eat, how to speak, etc. He learned how to behave, really, from how he was treated. So while he was treated with kindness, he was kind.
EM:  In the original casting (Cumberbatch as the creature and Miller as Frankenstein) the monster was all about connections  - learning how to connect to the nerves in his body to learn how to walk, how to connect with people, how to get his point across.  His actions had consequences and he was painfully and acutely aware of them.  He liked learning the philosophy and the history and applied those lessons because he liked the information.  He was created with a fully formed brain, so he learned from those before him and used the information wisely.

This was at odds with the “educated” Dr. Frankenstein who was so disconnected from his world and the consequences of his actions.  He did it because he could and because he is better, smarter and more clever than anyone.  He doesn’t care and he only applies the lessons he wants to acknowledge.  That is why I think  his “punishment” is fitting, he is being outsmarted and being taught how to be human by the thing he created.

R: Ladies – i’m going to lunch.

EM: What?!?!  Rude

R: Um. Whatever. I’m hungry. I haven’t eaten. I’ll get coffee and then we’ll continue. It’ll be fab.

EM: This is all staying in

R: Not a chance. RUDE!

EM: Since I have be ABANDONED (much like Frankenstein’s creature) I shall continue on without her.

R: STOP TOUCHING THINGS.

EM:  But a keyboard is made of buttons!  I can’t stop!!

M:  Really?  Her stop touching things?  That is the most ridiculous thing I have ever heard.  You may as well have titled this “Do Not Enter”.

EM: You know, truer words have not been said by me or by M.

R: I hate you.

EM: Anyways. (R: Sigh – I expect this to be intact when I return.)  (EM: expect whatever you like) In the reverse casting with Miller as the creature and Cumberbatch as Dr. Frankenstein, it was almost like watching a different play entirely.

Side note – This is the best conversation ever

M:  Compromise- you will go with me to lunch now.

EM: Deal!

*Hours later, once we have gone to lunch and generally gotten our act together* (M:Relatively)

R: I agree, it was an almost entirely different show. Miller’s portrayal of the creature really showed him to be the monster.

EM: In regards to the creature, I felt like the main difference in Miller’s portrayal was that he was more aggressive.  While Cumberbatch’s creature had the same lines and same background, Miller’s creature used his fully formed brain to learn quickly -not because the information was interesting to him but because it was useful in his desire to manipulate.  Cumberbatch used his education to manipulate as well, but only because he was pushed into that corner as a last resort. Miller’s creature stood on the shoulders of giants (philosophy, history, education) to accomplish something because he could move forward with his own actions, Cumberbatch’s creature stood on those same shoulders and asked if he should continue forward before he did something.  I felt Miller’s portrayal was more like a “creature”, aggressive, selfish and uncaring of what his actions did – like his attack on Elizabeth, whereas Cumberbatch’s creature was more sensitive and truly regretted his actions, in particular in regards to Elizabeth.

R: I agree with that. I would say that it is almost exactly true of each of their portrayals of Dr. Frankenstein as well. Miller’s Dr. Frankenstein was very brash. He looked at his creature as less than him because he had made it and he did not want to take responsibility for the havoc he had wrought. Cumberbatch’s Dr. Frankenstein was much more thoughtful. He seemed to weigh his actions, to look back on them and actually feel regret, whereas Miller’s Dr. Frankenstein did not.

The biggest difference in their portrayals, in my opinion, was their interactions with Elizabeth.

EM: I agree.  Please defend your statement

R: Rude! I wasn’t done and I got distracted!

Miller was very derisive of the concept of love and of following normal conventions. The thought of producing children to create life was also repugnant to him, as he saw himself able to create life directly. Cumberbatch seemed more to want to understand love. He wanted to love Elizabeth and he almost could have except he did not quite connect, but you could feel that he was sort of on that edge of being able to. He was much more gentle in his interactions with Elizabeth and much more willing to touch her and be near her than Miller was. In Miller’s portrayal, it seemed like he did not understand that the creature would come to kill Elizabeth after the wedding as he was so egotistical as to believe the creature only wanted to destroy him. In Cumberbatch’s portrayal, he understood that the creature would want to kill his wife as Frankenstein had killed the creature’s wife. There seemed to be more desperation in his actions.

PHOTOS BY CATHERINE ASHMORE
Copyright catherine ashmore

EM: Agreed.  Miller’s Frankenstein only wanted children because it was expected of him, not because he wanted to be a father in any traditional sense.  He also was a terrible “father” to this creature as he abandoned him based on looks (which annoys me cause he looks the same alive as dead, so this was a surprise how?) and then only was interested in fulfilling the creatures request because it was a challenge to his scientific mind, not out of any sense of duty.  In both roles Miller was bold strokes, aggressive and brash.

Cumberbatch was a Frankenstein that was curious and intrigued by this idea of “love” in that is is something that needs to be described and his “superb mind” could not rationally understand.  He wanted to know, but whether because he wanted love or just to understand is not made clear.  Much like his monster, his portrayals of each character was a more thoughtful and intellectually curious.  His characters were each more subtle, reserved and detailed.

R: Yes.

EM: I feel like we should wrap this up as it is getting long.  I also feel like M. should monitor these conversations more often.

R: I think this was “getting long” about 10 days ago. I like the sound of “M.” It’s very mysterious.

EM: If we have an “M.” I think it makes us the secret agents with a license to kill, right?  (M:  Of course I do)

R: Secret, agent man. Secret, agent man. They’ve given you a number, and taken away your name.

EM: Am I the only one who thought that  was “secret Asian man” when they were little?

R: Yes.  M: Yes

EM: M. How do you feel on this project we have recruited you to join?

M:  Where?
I think if you were more consistent in focusing on the work, I would have been able to heckle more, as this is my expertise.   Clearly.

EM: There are so many colorful cursors right now I have no idea what is going on.  Feel free to heckle after the fact.  Insert heckles as needed

R: Focusing has never really been our strong suit. As evidenced by this discussion.

ANYWAY. To wrap things up. The show was absolutely spectacular. You can hardly see one version without seeing the other, as to do so would be a disservice to the production and to yourself.

I would like to resume swooning now, if you please.

EM: Feel free to commence swooning.

R: Swoon.

Can we even post this? Is this even postable?

EM: Let’s leave that decision to our comments section.

M:  Also, on an unrelated note- I am impressed that there was such a benefit to seeing both productions.  It has been quite the enlightening read.  Potentially more so if this stupid program didn’t keep freezing on me.

EM: The great “M” has spoken! We are done  (M: Oooo the POWER!)

Thanks!
EM 

The Old Globe presents the West Coast Premiere of THE SCOTTSBORO BOYS the critically acclaimed musical about the story of The Scottsboro Boys. Playing at the Globe this is presented in association with American Conservatory Theater.

John Kander and Fred Ebb were never ones to shy away from controversial or potentially polarizing stories in their musicals. In Chicagothey mock the justice system with a pair of merry murderesses and Cabaret is set the tumultuous city of Berlin, just before Hitler’s rise to power. So it is no surprise that Kander and Ebb chose to tackle the landmark trials of The Scottsboro Boys.

Base on a not particularly proud moment in American history, THE SCOTTSBORO BOYS is follows the true story of nine young black men aged 13 to 19 who were arrested on trumped up charges in 1931 Alabama. The nine men (and boys) were falsely accused of raping two white women on a train. The ordeal that followed involved a series of trials that would last over years, and in some cases decades. Their lives and experiences helped spark the civil rights movement.

Photo credit:

Photo by Henry DiRocco.

So how does Kander and Ebb take this sensitive and politically charged moment and turn it into a musical? What device would best be used to tell this story? Kander and Ebb chose to frame it in the guise of a minstrel show. This format only helps reinforce the racism that is at the root of everything that happens to them. The cast of characters includes a kindly, old white southern Interlocutor (master of ceremonies of a minstrel show), the nine men who portray the accused and two performers who play the rest of the roles needed.

Mr. Bones (Jared Joseph) and Mr. Tambo (JC Montgomery) take on the roles of the abusive guards, the slick and conniving lawyers, and anyone else the plot requires. They play them with a gleeful energy; as fools who will do anything for a laugh to entertain their audience. Their cruelty and their cheerful willingness to “help” tell this story, only underscores the menace in their attitude and behavior.

The nine young men are introduced to the audience as they are introduced to each other. Aside from the two brothers riding the rails, none of the men knew each other prior to this experience. They were all riding the rails in hopes of something better before they were pulled off the train. Nile Bullock plays the youngest of the group, a 13 year old boy who doesn’t even know the definition of rape, the very crime he is accused of committing. Bullock is a wonderful performer and dancer, and his tap number “Electric Chair” is a great dance set within a child’s nightmare. As the central character, Clifton Duncan is fantastic as the steadfast Haywood. He comes into jail as an illiterate young man and becomes the focal point of the story as he refuses to agree to a lie in order to get parole. The song “go Back Home” is gorgeous and Duncan’s portrayal is both powerful and yearning; his greatest defiance is that he tells the truth.

Individually these actors are strong, with impressive singing and dancing skills. As an ensemble they shine, with many of them playing double or triple roles when needed. James T. Lane and Clifton Oliver are funny and galling as the accusing ladies in “Alabama Ladies”. Vocally they are at their best as a group in their tightly harmonized numbers. Particular standout ensemble songs are “Commencing in Chattanooga” and “Southern Days”.

As the Interlocutor, Ron Holgate is the perfect Southern gentlemen, smiling congenially and seemingly unaware of how inappropriate his requests are of these boys. This is never more apparent then when he encourages the boys to sing one of the “oldies” which turns out to be a lovely song about those consummate days of slavery. Mid song he commands them to smile and the smiles immediately appear, along with verses about lynching and danger. In this moment you know this is a man who is not just out of step with the world he is in, but also is can’t understand why these boys would ever want things to change.

Hovering along the edges of the performances is The Lady, the silent witness to their suffering. The audience can easily recognize her as Rosa Parks. Her addition is not just for added drama, but as proof that the story of these boys changed lives in smaller and more personal ways. In 1931, the then Rosa McCauley met her future husband Raymond Parks at a NAACP rally. Parks presence in this show is representative of those that bore witness and then took action as a result of what happened to these nine young men.

The show balances on an uneasy tension between entertainment and indignation. The juxtaposition of a story about racism bring told via minstrel show seems like an incompatible pairing. Should we cheer at the entertaining tap number or not since it is set in the execution room while the guards torment the little boy? Do we laugh at the jokes even as we are we offended by their content? In our sometimes overly politically correct society, this show deliberately puts the audience in an awkward position to further drive home the story. To be clear, while Southern racism is given most of the blame, Northern patronizing attitudes both to the boys and the South in general are not given a free pass.

This musical is unsettling, thoughtful, infuriating and entertaining all at once. It steps outside of the traditional musical format and offers us an experience we will not forget. I urge you to take them up on this offer. The minstrel show is told through the eyes and attitudes of the South in 1931, which makes it all that much more affecting when Haywood starts the show by requesting, “This time can we tell the truth?”