• Twain was about as “woke” as a white guy could possibly be in his time and place, and a large part of the character journey of Huck Finn is him realizing the injustice of the fact that his word as a white man, even a no-good rapscallion like him, would always outweigh that of Jim’s. Just worth a mention. Also worth mentioning, this show recently had a national tour, and was performed by an amateur group in Knoxville TN last summer as well. So it’s not unknown.

  • Randy Reinholz

    Thanks for bringing so many points of view into this discussion

  • LondonTheatre1.com

    Not wishing to be pedantic or detract from the subject matter, but I wish someone would correct the typos (of which there are a few). Article shared.

  • JLMandell

    There are some interesting general points here, but I find it problematic that, in an article ostensibly about the controversy over a review of “Big River,” AT has interviewed a critic who has never reviewed nor even seen a production of “Big River” — nor apparently even read the script. This is not incidental or irrelevant to me. In MY review of this production of “Big River” — https://newyorktheater.me/2017/02/11/big-river-review-huckleberry-finn-in-the-era-of-blacklivesmatter/ — I argued that the 1985 musical, as rewritten for this 2017 Encores! “concert” version, falls short of Mark Twain’s novel, especially in this issue of the treatment of the black characters. Kelundra Smith seems to conflate the novel and the musical and this newly revised musical as if they are all the same thing — which is understandable, since she is only acquainted with the novel.
    By the way, a quick look at the Rodgers and Hammerstein website, which licenses “Big River,” would reveal that there are productions of the musical being performed in February or March in Florida, South Carolina, Louisiana, and Texas — as well as Maryland, Missouri, Indiana and Utah.