Beowulf Borrit on “The Scottsboro Boys,” Theatre, and Process
My father is a Lincoln scholar, and my mother trained as an opera singer, so the marriage of a pivotal piece of American history to a Broadway musical was right up my alley.
My father is a Lincoln scholar, and my mother trained as an opera singer, so the marriage of a pivotal piece of American history to a Broadway musical was right up my alley.
Like all revolutions, there were strong leaders, cults of personality, and fervent ideological differences that led to fractures.
News footage traces American presidents expounding upon the need for energy independence. It begins with Richard Nixon in 1974 telling the country, “We must provide for our own energy needs.”
The movie clearly ties the fire and its lessons to contemporary topics.
Steinem recounted demonstrating outside the Museum with the rallying cry, “MoMA is a female impersonator.”
Benazir Bhutto was born in 1953. Nobody came to visit her mother for three days; they were in mourning that she hadn’t given birth to a son.
“What story are we going to tell tonight?” the Interlocutor is asked. When he replies, “The story of the Scottsboro Boys,” he is queried, “This time, can we tell the truth?”
Client 9 delves into an interesting set of circumstances. However, it is not built upon the questions that I brought to the film.
Living longer, working longer, dating later in life. Is plastic surgery the answer to ageism?
The coroner explains that she was forced to the ground and shot at close range, reflecting “extreme hatred” on the part of her killers.