The Scottsboro Boys
by John Kander, Fred Ebb & David Thompson
The Lyceum Theatre
Garrick Theatre, West End, London
Vineyard Theatre, Off-Broadway
Young Vic Theatre, London
Guthrie Theatre, Minneapolis
Ahmanson Theatre, Los Angeles
American Conservatory Theatre, San Francisco
Old Globe Theatre, San Diego
Philadelphia Theatre Company, Philadelphia
Directed and Choreographed by Susan Stroman
Tony Award Nomination,
San Francisco Critic's Circle Award Nomination
Los Angeles NAACP Award Nomination
Hey! Hey! Hey!
Colman Domingo, John Cullum, Forrest McClendon & Company
Commencing in Chattanooga
James T. Lane, Derrick Cobey, Julius Thomas III, Joshua Henry, Sharon Washington, Josh Breckenridge, Kendrick Jones, Rodney Hicks, Jeremy Grumbs & Christian Dante White
Joshua Henry, Rodney Hicks, Derrick Cobey & Company
Locked in the Box
Joshua Henry & Julius Thompson III
Make Friends With the Truth
Joshua Henry & Kendrick Jones
Joshua Henry & Company
Sharon Washington, Derrick Cobey, John Cullum, Joshua Henry & Forrest McClendon
Off- Broadway, Vineyard Theater
Hey, Hey, Hey, Hey
Josh Breckenridge, Kendrick Jones, Julius Thomas III, and Company
Commencing in Chattanooga
Rodney Hicks & Company
Go Back Home
Brandon Victor Dixon, Derrick Cobey, Julius Thomas III, & Company
In The Box
Brandon Victor Dixon and Julius Thomas III
In The Box
Colman Domingo, Forrest McClendon & Company
Derrick Cobey, John Cullum, Brandon Victor Dixon, and Forrest McClendon
Guthrie Theatre, Minneapolis 2010
Philadelphia Theatre Company, Philadelphia 2011
Old Globe, San Diego 2012
ACT, San Francisco 2012
Young Vic, London 2013
Garrick Theatre, West End, London, 2014
"Ms. Stroman offers some of her most effortlessly vibrant work since The Producers, exploiting a minimal set by Beowulf Boritt... a series of girdered prosceniums and an array of silver-painted chairs to conjure the airy freedom of train travel, the claustrophobic terrors of prison and the raucous atmosphere of the courtrooms."
~Charles Isherwood, The New York Times
"The production design maintains the musical's tight aesthetic. Beowulf Boritt's sets and Ken Billington's lighting insinuate just enough flash into the attractive severity to keep us mindful that we're watching a stage performance within a stage performance."
~Charles McNulty, Los Angeles Times
"Stroman, with set designer Beowulf Boritt, has used little scenery, choosing instead a collection of silver chairs that interlock to create everything from a train to a jail to a courtroom to a bus. The fact that the nine accused men construct each adds to the irony."
~Mark Kennedy, The Associated Press
"Minimal set by Beowulf Boritt works perfectly within the concept"
~Steven Suskin, Variety
"The always clever Beowulf Boritt doesn't have much of a budget, so he opts for a bunch of chairs and places them in intriguing positions."
~Peter Filichia, Theatermania
"The Scottsboro Boys is enhanced brilliantly through the fluency of Beowulf Boritt's spare setting of skewed prosceniums."
~Michael Sommers, NJ Newsroom
"Stroman seems to know exactly when pyrotechnics are required, she has also obtained fine work from her designers. Beowulf Borrit's setting, a series of ever-more precariously tipping prosceniums"
~David Barbour, Lighting and Sound America
"The production, guided with elegant simplicity by Stroman, unfolds with rapid fluidity on a stage that scenic designer Beowulf Boritt frames with skewed proscenium arches that echo the show's off-kilter approach to the story. The other elements of his design are a dozen chairs and a few boards, which are inventively rearranged to represent a variety of locations."
~Andy Propst, Theatermania
"The show's look is stylishly severe, with a stark, footlighted set that makes resourceful use of simple silver chairs, configured into courtrooms and cells. (Beowulf Boritt is the scenic designer.)"
~Ben Brantley, The New York Times
"The spareness is matched in the design choices. Beowulf Boritt's set is simply a bunch of chairs and a couple of planks, endlessly regrouped into different shapes to represent everything from a boxcar to a prison cell to a courtroom with brisk efficiency."
~David Rooney, Daily Variety
"With little more than ragged costumes, a handful of straight-back chairs and a few planks and curtains (the minimalist costumes and set are by Toni-Leslie James and Beowulf Boritt, respectively), Stroman fills the tiny Vineyard stage with razor-sharp vaudeville dancing."
~Jeremy Gerard, Bloomberg News
"The production, guided with elegant simplicity by director-choreographer Susan Stroman, unfolds with rapid fluidity on a stage that scenic designer Beowulf Boritt outfits with a dozen chairs and a few boards, which are inventively rearranged to represent a variety of locations."
~Andy Propst, Theatremania
"...Beowulf Boritt's dexterous set (who knew 13 chairs could be so versatile and effective?)"
~Aaron Mettey, The Philly Post
"The set designer, Beowulf Boritt, desrves special mention for creativity. With only planks of wood and steel-backed chairs, he could arrange the items so they became the minstrel setting, jail cells, the boxcar, the courtroom and whatever else was needed"
~Bonnie Squires, Main Line Media News
"Beowulf Boritt's minimalist set (three wooden frames and a tangle of metal chairs)"
~Wendy Rosenfield, The Inquirer/Philly.com
"The set (by Beowulf Boritt) is almost unassuming in its simplicity: just a trio of receding frames arching over the stage, each progressively more askew, and beneath them a jumble of aluminum chairs piled to one side. Still, such simplicity also hints at, and soon delivers, rich complexity."
~Robet Avila, San Francisco Bay Guardian
"Cleverly and simply designed by Beowulf Boritt."
~Lyn Gardner, London Gaurdian