Courtesy of Broadway in Detroit
Historical past usually repeats itself, and that truth is obviously evident when watching Jason Robert Brown and Alfred Uhry’s emotionally charged 1998 musical “Parade,” which was not too long ago revived with a renewed sense of urgency and is now on a nationwide tour. Initially, the present had a short Broadway run almost three a long time in the past, however, given the present local weather—marked by the dismantling of variety and fairness initiatives, alongside the alarming rise of antisemitism each domestically and internationally—it feels as related at this time because it did then. The musical facilities on the tragic story of Leo Frank, whose 1913 trial for the homicide of 13-year-old Mary Phagan was not too long ago revisited in Fulton County, Georgia, in 2019. But, regardless of the shortage of progress towards exonerating Frank, the case stays unresolved.
This unhappy reality speaks volumes about our flawed justice system. Anybody prepared to look at the details, witness testimonies, and proof may rapidly deduce that Leo Frank didn’t kill Mary Phagan. But, as is deeply rooted on this nation, Frank was a sufferer of societal prejudices. The South, nonetheless reeling from the staggering losses of the Civil Conflict, desperately wanted a victory, and sadly, that victory got here on the expense of a Jewish manufacturing facility supervisor whose solely crime was loving his spouse and striving to offer a greater future for her and their household.
“Parade” is just not a simple present to look at; it’s even tougher to take a seat with afterward. From the outset, we all know that Frank is doomed. Projections behind the stage convey the haunting picture of Frank’s abduction by a gaggle of Southern white nationalists on August 17, 1915, who took the regulation into their very own fingers and lynched him. This grim reminder echoes the tragic occasions surrounding Matthew Shepard’s homicide in 1998 in Laramie, Wyoming—one other occasion the place a person was killed not due to any crime he dedicated, however due to who he was. Sadly, the cycle persists.
What “Parade” provides, nonetheless, is a mirrored image. It urges us to not shrink back from our previous, however to confront it, with the hope that understanding it would someday assist us break the cycle. That is the place Uhry’s ebook and Brown’s lyrics really shine, making the present as important to see as “Depraved” or “Hamilton,” albeit for fully totally different causes. Its power lies within the exploration of complicated human feelings and connections. Director Michael Arden’s imaginative and prescient, by means of intimate staging, projections, and powerhouse performances, offers “Parade” way more influence than it had when it first debuted. It’s no surprise that the present received the 2023 Tony Award for Finest Revival.
The beating coronary heart of the musical is the connection between Leo and his spouse, Lucille, portrayed by Broadway veterans Max Chernin and Talia Suskauer. The duo masterfully conveys the gravitas required by such a weighty subject material whereas additionally providing a glimmer of hope that, regardless of what we all know, maybe the result may change. Chernin captures Leo’s quirks and his “fish out of water” mentality, significantly evident in his first tune, “How Can I Name This Dwelling?” In the meantime, Suskauer skillfully portrays Lucille’s inner wrestle, torn between clinging to her privileged life and wanting to flee the continuing trial. Every of their performances is finely calibrated, rising in depth because the present progresses. Their duet, “It’s Laborious to Converse My Coronary heart,” in Act II, is completely gut-wrenching.
The supporting solid is equally sturdy, with Griffin Binnicker’s portrayal of Tom Watson, the editor of an alt-right newspaper; Chris Shyer as Governor Slaton, caught between political strain and ethical duty; Andrew Samonsky because the pompous, fact-twisting prosecutor Hugh Dorsey; Ramone Nelson, who brings a chilling mixture of soul and menace to Jim Conley; and Olivia Gooseman, a Michigan native making her Broadway nationwide tour debut as Mary Phagan, all contributing to the regular, assured manufacturing. Particular point out should go to Jack Rowden’s stirring efficiency throughout “There Is a Fountain/It Don’t Make Sense,” which left the viewers in tears.
Arden’s staging is intelligent and evocative, with the solid, very similar to in “The Laramie Venture,” not often leaving the stage. Scenic designer Dane Laffrey fills the area with rows of wood church pews, picnic benches, and eating room chairs, going through a raised central stage. Characters transfer seamlessly out and in, whereas lighting and projections hold the almost three-hour manufacturing flowing easily. Act I looks like a marathon attributable to its heavy subject material, however it units the stage for a somber but rewarding second half, which opens with two Black servants singing “A Rumblin’ and A Rollin’.” The tune displays their frustrations with the media protection of Leo’s trial whereas their very own households are being slaughtered, a stark distinction that highlights the systemic injustice at play.
As an viewers member, it may be tough to know when to applaud or when to easily let the musical communicate for itself. Throughout intermission, Leo stays on stage, confined to his cell with out even a second’s respite. Ought to we stand in solidarity with him? Can we applaud a gap quantity that features racist rhetoric and shows of Accomplice flags?
The reply is sophisticated, however “Parade”—prefer it did in 1998—deserves our undivided consideration. It serves as a poignant reminder of the continuing battle in opposition to bigotry and the significance of utilizing our voices for the subsequent technology. Leo Frank didn’t get justice, however he grew to become an emblem of one thing a lot bigger than himself. Can we are saying the identical for ourselves?
PARADE is now taking part in at The Fisher Theatre in
Detroit by means of March ninth. Tickets will be bought right here.