When an audience member sitting behind me at Scottsboro commented on the chairs, saying, "Oh no, not chairs... I saw Billy Elliot... they were all about chairs... I hate those fucking chairs..." I should have already seen that as an omen.  After the performance, I thought the use of the chairs to construct the set pieces (a jail cell, a train, a courtroom, even a hole in the ground) was inventive.  Really, really smart stuff.  I loved the choreography, the acting was top notch, and I was bawling like a baby at the injustice these 9 African-American men experienced.  A lot of African-Americans still experience racism.  If you think all that ended with Obama being President, you're wrong.  Dead wrong.

Yes, The Scottsboro Boys made a lot of people uncomfortable.  I think that's a good thing.  How else can progress be made without a few growing pains?  Pussyfooting around the issue of racism isn't going to solve anything, and a show that actually shoves it in your face is a good, good thing.  My heart sank when news of its closing reached my eyes.  Broadway has eaten another really wonderful show.

I can't speak for Bloody Andrew Jackson, as I haven't seen it, but heard mixed things from friends that have.  I was looking forward to watching it during my next New York trip next summer, but alas.  I won't have the chance.

What I might be able to see could be Spider-man: Turn Off the Dark.  For sure I'll go... I have friends that work in the general manager's office, as well as one friend who's an actor in the show.  If nothing else, my curiosity has been piqued, and I'm a fan of the web-slinging wall-crawler.  That said, I really have no idea if a Marvel superhero is what Broadway will devour; it's very possible that Broadway will chew it up and spit it out.  Catch Me if You Can, based on the Leonardo diCaprio and Tom Hanks starrer, will be opening pretty soon, too.  Will it eat up the handsome young con man, or kick him to the curb?  Who knows?

If rejection is the case, then what the hell does Broadway want?  It seems to dislike the inventive and innovative, the emotional and honest.  It seems to want bombastic.  Flash and panache.  In other words, a sure thing.

But what the hell IS a sure thing???  I've invested in one Broadway show (Rock of Ages) and thank goodness it's drawing crowds in.  I'm also thankful that Billy Elliot is still running, and that American Idiot is keeping butts in seats.  Promises Promises is living up to its (sorry, pun intended) promise of drawing in the crowds.

There are now new shows in workshops... new shows in preparations for their regional trial runs... new shows that, under different circumstance, would run a good long while.  However, the times are changing and I'm scratching my head.  What do audiences really want?  What will catch fire and run on Broadway?  I'm hoping that something inventive, innovative, emotional and truthful succeeds.  Truly.  Broadway needs... something... special... magical... real.

Registered users have the ability to comment on articles and blog entries. Please login or create a profile.