Biting, relevant with masterful performances

Kander and Ebb's final stage collaboration in 2011 could be described as the mirror image of their earlier 1970?s hit Chicago. Instead of murderous wannabee socialites playing the system for fame and fortune, we have nine innocent African-American men, falsely accused of rape by two white Alabama girls who skipped a fare. The men are hauled off the train and thrown into prison. Following a comically cynical kangaroo court in Scottsboro, they are sentenced to Death Row. Over the next 10 years they are hauled in and out of court as their predicament becomes a cause celebre for the liberal, wealthy North.

The meta-theme of a show within a show also carries over here with a minstrel show standing in for the ubiquitous cabaret style of the former. A stripped-back staging, set in a rustic town hall with chairs providing much of the scenery changes is also synonymous, as the attention focuses solely on the singing and dancing, rather than on expensive scenic distractions.

The narration is handled deftly by Colman Domingo as Mr Bones as Forrest McClendon as Mr Tambo, a zany double act (who the pair originated on Broadway) , who in turn double as the comical yet brutish prison guard contingent.

Led by the seemingly jolly white Interculator, (played by Julian Glover of Game of Thrones fame), the 11-strong cast switch between roles of the eponymous characters, the prison guards, their Southern accusers, and even the elderly hick lawyers. Laughs that come one moment are rapidly deadened the next, in numbers that candidly talk about lynchings, rape and racism without making them punchlines, and this adds to the tension. The singing and dancing are flawless, and each character is fleshed out without too much exposition, leading to quite a furious pace in the first half.

There was a ripple discomfort at the finale number which is performed by the troupe in blackface, until they wipe their faces clean to the protests of the Interculator, who admonishes them for abandoning the story. The troupe in term are fed up with acting this tale out to suit their primarily white audience; they are taking it back and telling the story as it happened, with no holds barred. It's a powerful statement, in all its simplicity.

The ghostly woman wandering through the scenes provides a startling presence throughout the scenes, as you wonder who she is. All is revealed in the dying seconds of the show - without giving too huge a spoiler, she is arguably the most famous character of all.

It's well executed, bitingly satirical and simultaneously simple in its anti-racism message and definitely relevant in a time where racism in America is still a sore issue. If you like your musicals with bite, this is for you.

Reviewed by Natalie Vincent on 8th October 2014
In previews until 23rd October

View our show pages for more information about The Scottsboro Boys, Garrick Theatre.