DOCSLIB.ORG

Beck Center for the Arts Produces the Scottsboro Boys Marking the Ninth Collaboration with Baldwin Wallace Music Theatre Program Running February 7 Through 23, 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beck Center for the Arts Produces the Scottsboro Boys Marking the Ninth Collaboration with Baldwin Wallace Music Theatre Program Running February 7 Through 23, 2020 17801 Detroit Avenue Lakewood, OH 44107 beckcenter.org 216.521.2540 CONTACT: Julie Gilliland, 216.521.2540 x22 or [email protected] FOR IMMEDIATE RELEASE: December 16, 2019 Beck Center For The Arts Produces The Scottsboro Boys Marking The Ninth Collaboration With Baldwin Wallace Music Theatre Program Running February 7 through 23, 2020 Lakewood, OH–Beck Center for the Arts is pleased to produce The Scottsboro Boys with the esteemed Baldwin Wallace University Music Theatre Program. This limited engagement runs February 7 through 23, 2020 in the Mackey Theater. Show times are 8 p.m. Fridays and Saturdays and 3 p.m. Sundays. Special Wednesday and Thursday performances will take place at 8 p.m. on February 13, 19, and 20. Buy early and save with promo code: TRIAL to receive $5 off each adult or senior ticket purchased by February 6. Preview performance is the Thursday before opening night, February 6. Tickets range from $10 Smart Seats ® to $33 each. Group and student discounts are available. Tickets are on sale now. With a book by David Thompson, The Scottsboro Boys holds the distinction of the last production created by venerable songwriting team of composer John Kander and lyricist Fred Ebb. They were primarily known for stage musicals, such as the poignant Cabaret and sexy Chicago. The Scottsboro Boys is a musical with the framework of a minstrel show. This powerful musical is based on the true story of nine young black men in a landmark case that helped give rise to the civil rights movement and changed history. This production was nominated for the 2010 Drama Desk Award for Outstanding Musical and Outstanding Book of a Musical, as well as nominations for 2010 Tony Award Best Musical, Best Book of a Musical, and Best Original Score. Jon Martinez, director of The Scottsboro Boys, was tapped by Victoria Bussert of Baldwin Wallace to direct and choreograph Be More Chill, a co-production with Baldwin Wallace Music Theatre Program at Playhouse Square. The show went on to perform on Broadway. Mr. Martinez has also directed and choreographed in theaters across Chicago. He currently teaches in After School Matters, a program provided by the City of Chicago to high schools without sustainable theater programs. “The power and relevancy of this story is felt even today. It ripples through American history and exposes an embedded problem we still have. This show pulls back the curtain and presents us with our past in the effort to not make it our future," says director Jon Martinez. Beck Center is located at 17801 Detroit Avenue in Lakewood, just ten minutes west of downtown Cleveland. Free onsite parking is available. For more information visit beckcenter.org or call Beck Center Customer Service at 216.521.2540 x10. This production of The Scottsboro Boys is presented through special arrangement with Music Theatre International (MTI). This production is presented with the support of FGI Foundation, a supporting foundation of the Jewish Federation of Cleveland, Francine M. Gordon, Trustee. All authorized performance materials are also supplied by MTI. www.MTIShows.com. Programming at Beck Center for the Arts is made possible through the generous support of the Ohio Arts Council. Beck Center gratefully acknowledges the generous funding provided by the citizens of Cuyahoga County through Cuyahoga Arts and Culture. Beck Center for the Arts is a not-for-profit 501(c)(3) organization that offers professional theater productions on two stages, arts education programming in dance, music, theater, visual arts, early childhood, and creative arts therapies for individuals with disabilities, free gallery exhibits year-round, and outreach education programming. ### .
Load more

Recommended publications
  • “For the Liberty of the Nine Boys in Scottsboro and Against Yankee
    Canadian Journal of Latin American and Caribbean Studies, 2013 http://dx.doi.org/10.1080/08263663.2014.940718 “For the liberty of the nine boys in Scottsboro and against Yankee imperialist domination in Latin America”: Cuba’s Scottsboro defense campaign Frances Peace Sullivan* History and Literature, Harvard University, Cambridge, MA, USA (Received 15 January 2013; accepted 3 March 2014) In the spring of 1931, death sentences imposed on nine young African Americans arrested on trumped-up rape charges in Scottsboro, Alabama, ignited a worldwide wave of protest. This article explores Cuba’s Scottsboro defense campaign and argues that Scottsboro protests were a means of criticizing rising anti-black racism on the island from within the narrow confines of permissible racial dialogue in Cuban society. Additionally, it contends that the communist-led defense campaign became a vehicle for a broad range of actors to condemn imperialism and participate in a wider pan-American surge in oppositional politics. Ultimately, popular outrage over the convictions and sentences boosted the communist party’s appeal in Cuba during a time of heightened restiveness on the island and cemented the ideological link between anti-racism and anti-imperialism for future generations of radical activists. Au printemps 1931, on condamna à mort pour viol neuf jeunes Afro-Américains de Scottsboro, Alabama, sur la foi de témoignages falsifiés. L’événement provoqua une vague de soutien à travers le monde entier. Cet article explore la campagne de soutien aux “Scottsboro Boys” menée à Cuba et démontre que les manifestations cubaines ont été, dans le cadre restreint de liberté d’expression touchant aux questions raciales, un moyen de critiquer un racisme anti-noir croissant sur l’île.
    [Show full text]
  • January 24, 2020 Research Paper
    January 24, 2020 Research Paper The United States has gone through a long period of racial prejudice, since its creation when Natives were forcefully taken off their land. Specifically in the 1930s, the race relations were at an extreme high due to the continuous poor treatment of Black people, who were considered “inferior” to White people, an unreasonable assumption. This is an extremely prevalent concept in the novel To Kill a Mockingbird which highlights the innocence of these minorities who do nothing to negatively contribute to society. Written and published in the 1960s, the brink of the Civil Rights Movement, Lee wrote the novel with the intention of raising awareness to the blatant racism occurring, which no one was acting upon, using characters that readers grew to love. Harper Lee used numerous historical events in order to develop the plot and characters of To Kill a Mockingbird specifically Emmett Till, the Scottsboro Boys, along with their trial and the Ku Klux Klan. To begin with, the case of Emmett Till was used to influence major characters of the novel, To Kill a Mockingbird by Harper Lee. Emmett Till was only 14, while visiting his family, was accused of flirting with a white woman. He was abducted by the relatives of the woman and they used extreme violence and shot him. Emmett Till’s mother decided to have an “open-casket funeral” in order to allow people around the world to be more aware of the extreme racial injustices that were occurring, which were often neglected(History.Com Editors 1). In comparison, the novel revolves the case of Tom Robinson, a 25 year old black man who was accused of the rape of Mayella Ewell.
    [Show full text]
  • And the World Goes 'Round Just After Finishing the New York Revival of Kander and Ebb's Flora, the Red Menace
    AND THE WORLD GOES ‘ROUND Music by John Kander: Lyrics by Fred Ebb: Conceived by Scott Ellis, Susan Stroman and David Thompson Westside Theatre - Off-Broadway - March 18, 1991 (408 perfs) SYNOPSIS "Rehearsals had been under way for nearly a month. In another week, we'd be in the Westside Theatre on West 43rd Street. On this particular day, John and Fred were coming to the studio. Of course, their appearance wasn't at all unusual. They were one of us. Even so, every few days we sat them down and showed them our progress. We wanted to make sure our interpretation of the number matched their own interpretation. Composers and lyricists are notorious for wanting their songs sung in a very particular way. For some reason, they think they know how a song is intended to sound. We were slightly apprehensive because we had been tinkering with one of their best known songs, Cabaret. We had changed not only the melody but the words as well. Our intention, unlike our intention for most of the other songs in the show, was to find a new way to present the song: to make it different-fresh-and as exciting as it must have been the first time it was ever performed. Now it was time to see if we had succeeded. John and Fred arrived. The performers stood around the piano and sang David Loud's new arrangement. When they had finished, a few moments passed. Nothing. Maybe this time we had gone too far. Finally, Fred broke the silence and said with a broad smile, "Well, you made the old turkey gobble again." Scott Ellis, Susan Stroman and I began working on And the World Goes 'Round just after finishing the New York revival of Kander and Ebb's Flora, the Red Menace.
    [Show full text]
  • Contested Representations of the Scottsboro Trials
    Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 5-2016 Belle Versus or Tramp Versus Child?: Contested Representations of the Scottsboro Trials Henry Guston Kemp Broege Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Broege, Henry Guston Kemp, "Belle Versus or Tramp Versus Child?: Contested Representations of the Scottsboro Trials" (2016). Women's History Theses. 11. https://digitalcommons.slc.edu/womenshistory_etd/11 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. 1 Belle Versus Beast or Tramp Versus Child?: Contested Representations of the Scottsboro Trials Henry Guston Kemp Broege Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, May 2016 2 In June of 2015, while I was in Montgomery doing research for my master’s thesis, an act of terrorism was carried out by Dylann Roof, a twenty­one­year­old White supremacist man, who entered the Emanuel African Methodist Episcopal Church in Charleston, South Carolina and shot to death nine Black churchgoers during their service.1 When asked about his motives, Roof said, “I have to do it. You rape our women and
    [Show full text]
  • The World Goes 'Round.” – the World Goes ’Round
    PRESS RELEASE For Immediate Release Tuesday, April 14, 2009 CONTACT: Patrick Finlon, PR Director 315-443-2636 or [email protected] Syracuse University Department of Drama Presents The World Goes ’Round A Dazzling Musical Revue from Kander & Ebb Conceived by David Thompson, Jacques Deval and Susan Stroman Lyrics by Fred Ebb Music by John Kander Directed, Musically Directed and Musical Staging by Nathan Hurwitz Choreographed by Kimberly Hale ARTHUR STORCH THEATRE at SYRACUSE STAGE Opens: April 24, 2009 Closes: May 9, 2009 “Sometimes you're happy and sometimes you're sad – but the world goes 'round.” – The World Goes ’Round (SYRACUSE, NY) Life – with its glories, indignities, hopes and quiet dreams – is the subject of this stunning revue of the beloved songs of John Kander and Fred Ebb. Featuring unforgettable gems from throughout their incredible career in theatre, film and television, the work spotlights songs from Cabaret, Chicago, New York, New York, Funny Lady, Kiss Of The Spiderwoman and more. Filled with humor, romance, drama, nonstop melody and brassy, insightful lyrics, The World Goes ’Round is a thrilling celebration of life and the fighting spirit that keeps us all going. Presented April 24 through May 9 by the Department of Drama in The College of Visual and Performing Arts at Syracuse University, tickets to The World Goes ’Round are available at 315-443-3275 or by visiting www.vpa.syr.edu/drama. The World Goes ’Round offers a particular challenge to student actors in the Department of Drama. “In a revue, everything is stripped away and the actors have nothing to hide behind, no exposition or spectacle.
    [Show full text]
  • The World Goes 'Round
    MUSICAL THEATRE LIZA GENNARO, ASSOCIATE DEAN AND DIRECTOR THE WORLD GOES ’ROUND MUSIC BY JOHN KANDER LYRICS BY FRED EBB CONCEIVED BY SCOTT ELLIS, SUSAN STROMAN, DAVID THOMPSON ORIGINAL VOCAL AND DANCE ARRANGEMENTS BY DAVID LOUD Alex Sanchez, Director and Choreographer Steve Marzullo (BM ’84), Music Director WEDNESDAY, FEBRUARY 13, 2019 | 7:30 PM THURSDAY, FEBRUARY 14, 2019 | 7:30 PM FRIDAY, FEBRUARY 15, 2019 | 7:30 PM THE RIVERSIDE THEATRE WEDNESDAY, FEBRUARY 13, 2019 | 7:30 PM THURSDAY, FEBRUARY 14, 2019 | 7:30 PM FRIDAY, FEBRUARY 15, 2019 | 7:30 PM THE RIVERSIDE THEATRE THE WORLD GOES ’ROUND DIRECTOR’S NOTE MUSIC BY JOHN KANDER LYRICS BY FRED EBB The music of Kander and Ebb is rich in its narrative and emotional content. It inherently embodies the spirit of the human will to survive. Their music CONCEIVED BY SCOTT ELLIS, SUSAN STROMAN, DAVID THOMPSON never gives in to defeat but pushes us to be victorious over our struggles. I discovered that our need for validation and love is at the core of this revue. ORIGINAL VOCAL AND DANCE ARRANGEMENTS BY DAVID LOUD When you hear these melodies wrapped around the lyrics, my hope is that you will experience the power of its emotional range. Sung with the voices Alex Sanchez, Director and Choreographer of this new generation, the music of Kander and Ebb continues to express Steve Marzullo (BM ’84), Music Director our human conditions but with a fresh, contemporary point of view. These melodies will linger in your mind as you walk out of the theatre, having been Lorraine Smyth, Costume Coordinator enriched, I hope, by the power that is the music of Kander and Ebb.
    [Show full text]
  • Theater Season 2017-18 Brochure
    DEPARTMENT OF THEATER 2017-2018 SEASON ENLIGHTEN ENGAGE INSPIRE WELCOME TO THE DEPARTMENT OF THEATER’S 2017-2018 SEASON AT THE UCLA SCHOOL OF THEATER, FILM AND TELEVISION. We would like to invite you to experience our incredible new season of shows on the UCLA TFT stage featuring the depth and artistry of our exceptional students. Immerse yourself in the cutting-edge original work of THE NEW PLAY FESTIVAL or our exciting presentations of contemporary plays such as TROJAN BARBIE and IN THE RED AND BROWN WATER. Revisit the genius of classic works such as UNCLE VANYA, THE GLASS MENAGERIE, and our West Coast premire of Kander and Ebb’s Broadway musical, STEEL PIER. Also join us for our Off Mainstage and Off-Off Mainstage offerings, which will give you a peek at what our students have been developing. FALL MAINSTAGE Original works by MFA Playwrights THE NEW PLAY Featuring Undergraduate actors from the Department of Theater. FESTIVAL 2017 THEATER 1340 MACGOWAN HALL TICKETS AVAILABLE THROUGH CTO ME, MYSELF AND THE APOCALYPSE GEORGIA IS WAITING by JOE SAMANIEGO Directed by JEFF MAYNARD by ANNA FOX Directed by ALEXIS JACKNOW Consumed by digital overstimulation and apocalyptic paranoia, an Georgia Arizona Montana Dakota Smith’s father left when she was “unemployed” millennial convinces his narcissistic roommate and his social seven, so she lied and said he was killed by a bison. Yet suddenly, after media-obsessed girlfriend to unplug and find a fresh start. When faced with years of trying to reach her, he has stopped calling, prompting Georgia the realities of the outside world, their stunted social skills and general to reach out to him for once, and to make sense of why she has been ignorance about basic survival leave them grappling with questions of avoiding the truth for all these years.
    [Show full text]
  • Effacing the Scottsboro Boys: Censorship As Discourse Ellen G
    Effacing the Scottsboro Boys: Censorship as Discourse Ellen G. Landau, Case Western Reserve University With his adaptation around 1968 of social critique expressed in a deliberately clumsy cartoonish style, many in the New York art world considered the career of acclaimed Abstract Expressionist Philip Guston to have taken a surprising turn. Unknown to most, however, by “introducing” Ku Klux Klan hoods into his iconography at this juncture, Guston was choosing to revisit his own personally complicated connections with political repression. Born in Montreal of Russian immigrant parents who fled Cossack pogroms, Guston moved with his family to Los Angeles in the 1920s, an era of social instability marked in Southern California by the visible rise of paranoid and exclusionary right-wing social behavior. Non-whites and Jews were routinely barred from acceptance and upward mobility; radically “other,” many (like Guston’s father, a suicide) could never assimilate nor shed an outsider’s sense of vulnerability. Standard accounts of Guston’s development have not analyzed in sufficient depth the considerable implications for his own artistic trajectory as a result of the sadistic and unconstitutional suppression in 1933 of portable murals slated for exhibition at the Hollywood branch of the Communist-affiliated John Reed Clubs. These were created by then-20-year-old Philip Goldstein along with a group of like-minded friends including, among others, Harold Lehman, Murray Hantman and Reuben Kadish. All novice painters, Guston’s cohort was aided by Luis Arénal, brother-in-law of David Alfaro Siqueiros, the famed Mexican revolutionary muralist who’d recently spent time in Los Angeles.
    [Show full text]
  • The NAACP's Rape Docket and the Origins of Criminal Procedure
    UNIVERSITY OF PENNSYLVANIA JOURNAL OF LAW ANDSOCIAL CHANGE Volume 24, Number 3 2021 THE NAACP’S RAPE DOCKET AND THE ORIGINS OF CRIMINAL PROCEDURE BY SCOTT W. STERN* Abstract. This Article provides the definitive account of the surprisingly voluminous docket of rape cases argued by the National Association for the Advancement of Colored People (NAACP). It argues, for the first time, that the NAACP’s rape docket was central to the development of modern criminal procedure—to the establishment of the right to counsel, the right to remain silent, the right to a trial free from mob violence or influence, the right against self-incrimination via a coerced confession, and the right to a jury of one’s peers selected without discrimination. Drawing on original archival research, this Article demonstrates that all of these rights have their origins in the hundreds of cases argued by the NAACP on behalf of Black men accused of sexual assault by white women. This Article also argues that these cases were central to the development of the NAACP’s legal department, the relationships between local branches and the national office, and the careers of the famous civil rights attorneys—from Charles Hamilton Houston to Jack Greenberg—who rose to national prominence with the NAACP. Thus, these cases were central to the development of civil rights litigation itself. Indeed, the first significant Supreme Court case argued for the NAACP by a Black attorney was an interracial rape case. The first Supreme Court case ever argued by a Black woman, Constance Baker Motley, was an interracial rape case.
    [Show full text]
  • The Scottsboro Boys: Injustice in Alabama
    The Scottsboro Boys INJUSTICE IN ALABAMA By Jay Bellamy ith scant media coverage and little fanfare, on November 22, 2013, a three-judge pan­ Wel of the Alabama Board of Pardons and Paroles posthumously pardoned Haywood Patterson, Charlie Weems, and Andy Wright, three black men wrongly convicted of raping and assaulting two white women more than 82 years earlier. Although long deceased, the three were the last of a larger group to have their convictions cleared from the official record. Many believe the Scottsboro Boys, as they would become known, were the catalyst for the civil rights movement in the United States. This is their story. The Scottsboro Boys case began on March 25, 1931, when nine young black men and boys hopped aboard a Southern Railway train in search of work in Memphis, Tennessee. The youngest were 13-year-olds Eugene Williams and Roy Wright. The other seven were Charlie Weems, 19; Andy Wright (Roy’s brother), 19; Clarence Norris, 19; Haywood Patterson, 18; Olen Montgomery, 17; Willie Roberson, 17; and Ozie Powell, 16. Patterson, Williams, and the Wright brothers traveled together; the others were Georgia natives unknown to each other. As the train passed through northern Alabama, a fight broke out between the young black men and a group of white youths. One of the white men, walking atop a tank car, stepped on the hand of Patterson, who was hanging from the side. After an exchange of angry words, the whites jumped off when the train slowed and began pummeling Patterson and the others with gravel before jumping back on.
    [Show full text]
  • 3+ Sources 4+ Relevant Images
    TKAM Research Power Point Project - Dodd 3+ sources When you find a source you plan to use, be sure you… a) create your Works Cited entry b) can get back to it Search terms: Base your research in the 1930s. Civil rights; Jim Crow Laws; fight for equality; Scottsboro Trial Rosa Parks; Brown v. the Board of Education; Segregation; Civil Rights Act of 1957 Great Depression (Economics and poverty); Medical Issues and Treatment—lice, rabies, broken bones, alcoholism, drug addiction Women’s Rights; suffragettes Inventions and Technology of the 1930s Education/Literacy; schools; Racist Organizations; racism; Ku Klux Klan, Black Shirts, Nation of Islam; Eugenics 4+ relevant images From Databases or Websites; cite your images by placing URLs with the images AP Images See citation format at end of document Google or Bing Images - MUST limit for ONLY those pictures that are “free to use,” “labelled for reuse,” “public domain,” or “creative commons.” Choose any dropdown OTHER THAN THE TOP ONE. Cite your images by visiting the site on which they live, and copying and pasting those URLs. Google Images -- Use any with green arrows Bing Images -- Use any with green arrows Examples of Images Cited with URL nimal https://www.pexels.com/photo/a - pet - eyes - grey - 54632/ https://pixabay.com/en/cat-kitten- pet-cat-eyes-cats-cute-2464390/ Print Books - Library Catalog Template Cited Works Print in Books Databases – go to database page US history topics People associated with your topic General reference—may have something for everyone Use for newspapers from back in the day Websites – MUST use ONLY reliable websites (like those below).
    [Show full text]
  • The Scottsboro Boys at Playhouse on Park, We Pride Ourselves in Telling
    The Scottsboro Boys At Playhouse on Park, we pride ourselves in telling stories that need to be told now. We seek to tell stories that are relevant to today’s audiences and often introduce audiences to theatre experiences that they may not know. We will only be the 7th regional theatre production of The Scottsboro Boys and, besides the production in Boston two years ago, it has never been produced in New England. As a theatre, we want to create an experience for audiences. We don’t believe in audiences having a casual, passive, theatre experience. We want to create an experience that people will talk about after they leave, to create the conversation. We look for every production we do to educate, entertain, and challenge; this play does just that. This season, our 10th, we are focusing on bravery. Bravery resonates from each production we are producing either through plot or characters or both. But we also seek bravery on the part of the theatre to produce them and bravery on the part of the audience to go on that journey with us. John Kander and Fred Ebb, who created The Scottsboro Boys, create musicals not as vehicles for escapism but rather as a means to confront the most unsettling truths about human nature and behavior. On March 25, 1931, nine young African-American teenagers were ripped off a train, falsely accused of a crime, hastily tried and sentenced to death in an outrageous disregard of due process. The Scottsboro Boys is a musical of that shocking true story.
    [Show full text]