In 1931, nine young men were accused of raping two women. They had never seen or been near the women ever in their lives, and certainly didn't rape them, but the facts of the case were irrelevant, because the accused were black, in an era when that was enough to earn an innocent man the death penalty.

"The Scottsboro Boys," playing at the Ahmanson through June 30, tells the story of those nine teenagers, who were collectively referred to as the Scottsboro boys after the Alabama town in which the alleged crime took place. Developed by director Susan Stroman ("The Producers"), book writer David Thompson, and composers John Kander and Fred Ebb ("Cabaret," "Chicago"), the musical was put on hold following Ebb's death in 2004, but made its Broadway debut in 2010.

The show is something of an anomaly as a piece of contemporary musical theater. Kander and Ebb's score is of the ilk that simply isn't written any more, unless it's to lampoon a bygone era. Indeed, "The Scottsboro Boys" comes across more as revival of an old show than as a brand new piece of musical theater. This is mostly because of the conceit of the show, wherein the story of the title characters is told as if the whole performance is a minstrel show.

Minstrelsy was quite popular in the 19th century, but as time has progressed, it has become more and more disdained, due to its racist portrayal of the African American community and frequent utilization of blackface. Minstrel shows are not a proud part of the American theater's history, but they are important to understand, as they are an integral part of its history. Unfortunately, as presented to a 21st century audience, the musical's minstrel show elements fall flat, floundering between very serious treatment of the subject matter (as it deserves) and attempts at humor that aren't funny because they are too offensive. Without a clear sense of the show's tone, it's difficult for "The Scottsboro Boys" to resonate.

It's not for lack of effort from the cast and crew, though. Stroman, who also acts as choreographer, has crafted some powerful movement, particularly in the show's more high-spirited moments. Joshua Henry, who plays Hayword Patterson, the longest-suffering Scottsboro Boy, is a force to be reckoned with on stage, and it's a delight to listen to him sing the Kander & Ebb score. Beowulf Boritt's scenic design is effective at creating complex worlds out of nothing more than chairs and planks, and Jon Weston's sound design is clear, which is an impressive feat in the large, echoey Ahmanson.

The faults in the way in which the story is framed don't make "The Scottsboro Boys" a bad show, so much as keep it from being a much better show. There's a considerable amount of potential in the source material, but it is hampered by the nature of the narrative.

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"The Scottsboro Boys" is playing at the Ahmanson Theatre (135 N. Grand Ave., Los Angeles) through June 30. Tickets are $20-$115. More information can be found at CenterTheatreGroup.org.