Philadelphia Theatre Company officially opened THE SCOTTSBORO BOYS last night, January 25, 2012, running through February 19 at PTC’s home in the Suzanne Roberts Theatre. Previews began January 20, 2012. This is the first regional production of THE SCOTTSBORO BOYS since its run on Broadway last season.
The Scottsboro Boys opened at the Vineyard Theatre in February, 2010 and, after a brief run at the Guthrie Theatre, moved to Broadway in fall, 2010. It received 12 Tony Award nominations, four Adelco Award nominations, one Drama Desk Award and eight additional nominations, 2 Lucille Lortel Award and one additional nomination, and six Outer Critics Circle Award nominations with one win. The Scottsboro Boys represents the third collaboration among John Kander and Fred Ebb, Susan Stroman, and David Thompson, having worked together on Steel Pier, the revival of Flora the Red Menace, and And the World Goes ‘Round, which PTC premiered for Philadelphia in 1993.
For tickets, call 215-985-0420 or visit PhiladelphiaTheatreCompany.org.
Wendy Rosenfield, Philadelphia Inquirer: Fans of the Broadway production will notice that this cast functions more as an ensemble, and that Rodney Hicks brings more boyishness to the role of Haywood Patterson than did Joshua Henry, a big, imposing actor. The result is that the song "Nothin' " - previously a turning point in which Haywood, the boys' de facto leader, realizes the extent to which he is powerless - makes a smaller overall impression, but also serves to equalize both the boys' suffering and friendship.
Another change: The relative intimacy of the Suzanne Roberts Theatre affords a closer look at every element, physical and thematic, at what I believe will ultimately be considered one of the great American musicals.
Aaron Mettey, Philly Post: The performances of Forrest McClendon as Mr. Tambo, JC Montgomery (Mr. Bones), Ron Holgate (The Interlocutor), and Rodney Hicks (Haywood Patterson) are perfection. McClendon—who received a 2011 Tony Nomination for the same part—effortlessly transitions between characters and dialects. (His delivery of the song “That Not the Way We Do Things” is a true highlight of the evening.) Montgomery’s warm baritone makes the lyrical bite of “Financial Advice” that much more acidic. Holgate adds ominous depth to his master of ceremonies—which at first glance seems to be a simplistic, underwritten part. Patterson anchors the cast with his tremendous range: the commanding “Nothin’” and the beautiful “Go Back Home.”
