We wanted to bring the truth to life in a way that it would resonate with an audience. You can tell when a play is not right or true, the audience rejects it universally.”
“How do you tell the truth? What becomes important?
ing, most famous trials that we could use as inspiration. We thought it was time to tell a true story. We’ve collaborated on fantastical stories and romances—this was such a landmark case, it jumped out as remarkable. Once we made the deci- sion to tell their story, the story began to write itself, inform us and we found case documents and stories told by the boys themselves. Yes, they were innocent, yes they changed history, but we had forgotten who they are as people—they mat- tered. Outside of the large trials, the events that follow, the discussions of race, we wanted to ensure they never got lost. Was it more challenging to write a book based on historical fact, that doesn’t have the artistic license? Interesting question, I majored in journalism at Northwestern, I discovered
I liked telling stories more than reporting on them. But this show is very much the same as journalism with research, facts, court transcripts and books, they are riveting and all a part of our history. How do you tell the truth? What becomes important? We wanted to bring the truth to life in a way that it would resonate with an audience. You can tell when a play is not right or true, the audience rejects it universally. On the other hand as Ebb always said, “We must always remember we have to entertain the audience.” It’s our job to ensure you have gone willingly, that you are lost in that world. This time you’re being pulled into a world that is racially charged. What makes you most proud of this show? Well, the remarkable thing was listening to the audience and watching them
react to the piece, their sense of confusion. How they regard the case or look at it a new way. The conversations people had as they left. People were engaged in very robust, intensive discussions and not just with the people they came with but with the couple sitting next to them. That’s the rewarding part, watching conversations about the show move out into the streets. Do you have a favorite song from this show? The one that I love the most and have listened to over and over is the opening
song, “On the Train.” It is destined to be a real part of the American Songbook, a simple sound captured so well. I also love the songs that take the audience down a path and then twist it, give it
a narrative spin and drive home a message. “Southern Days” has lovely melody, it is a beautiful reflection of days gone by; we remember things that way. Slowly the men begin to twist the lyrics; they are in control and tell the truth. It is one of those instantly dangerous moments, a knife through the heart. Like inCabaret with the one line at the end of the song: “Funny, You don’t look Jewish at all” and the whole world turns upside down. I am right with you on those songs that turn the plot—amazing. Tell me about crafting the book for The Scottsboro Boys. Which comes first, the book or the songs? Well, I write what is called a dummy scene, a draft and then we work as a team
to find where the musical moments are in that scene. We do so much better as a team, someone might have a better line of dialogue, a better joke. Then once we have rehearsal and time with an audience we can do some editing to make it even better. What I enjoy about working with Kander is he constantly plays the “What If” game. What if the character did this? Or what if in this scene the leading lady does this? What if we set the whole thing on the train? The book and songs come together after a lot of discussion. That’s incredible. You have the hardest job, just getting something started on paper, some- thing to light the collaboration on fire. Thank you, that’s quite a compliment. I’m not sure I have the hardest job be-
cause we have a lot of discussions before I first sit down to write, that’s what I love. Before the demands of an audience, a producer, a critic there is pure imagination. All is possible, there are no bad ideas, we can work and it is safe. The collaboration is safe to express ideas or criticize. It’s comfortable, no ego involved, John and Fred really taught Susan and me how to collaborate. There aren’t a lot of places to learn that skill. They are masters at it. They really helped us in our learning, taking us from journeyman to collaborators. Their pas- sion and understanding, they give so willingly. John would be embarrassed and humbled to hear me talk like this. There are very few people like him, he got his start as a rehearsal pianist forWestside Story. There are very few people like him.
The Scottsboro Boys is running currently through Sunday, June 10 at the Old Globe. For tickets and more information, call 619.234.5623 or go
totheoldglobe.org
The Scottsboro Boys group photography by Paul Kolnik. MAY 2012 | RAGE monthly 17
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