'Parade' review: Timely relevance brings powerful musical into the 21st century
Courtesy of Broadway in Detroit
History often repeats itself, and that fact is glaringly evident when watching Jason Robert Brown and Alfred Uhry’s emotionally charged 1998 musical “Parade,” which was recently revived with a renewed sense of urgency and is now on a nationwide tour. Initially, the show had a brief Broadway run nearly three decades ago, but, given the current climate—marked by the dismantling of diversity and equity initiatives, alongside the alarming rise of antisemitism both domestically and internationally—it feels as relevant today as it did then. The musical centers on the tragic story of Leo Frank, whose 1913 trial for the murder of 13-year-old Mary Phagan was recently revisited in Fulton County, Georgia, in 2019. Yet, despite the lack of progress toward exonerating Frank, the case remains unresolved.
This sad truth speaks volumes about our flawed justice system. Anyone willing to examine the facts, witness testimonies, and evidence could quickly deduce that Leo Frank did not kill Mary Phagan. Yet, as is deeply rooted in this country, Frank was a victim of societal prejudices. The South, still reeling from the staggering losses of the Civil War, desperately needed a victory, and unfortunately, that victory came at the expense of a Jewish factory manager whose only crime was loving his wife and striving to provide a better future for her and their family.
“Parade” is not an easy show to watch; it’s even harder to sit with afterward. From the outset, we know that Frank is doomed. Projections behind the stage convey the haunting image of Frank’s abduction by a group of Southern white nationalists on August 17, 1915, who took the law into their own hands and lynched him. This grim reminder echoes the tragic events surrounding Matthew Shepard’s murder in 1998 in Laramie, Wyoming—another instance where an individual was killed not because of any crime he committed, but because of who he was. Sadly, the cycle persists.
What “Parade” offers, however, is a reflection. It urges us not to shy away from our past, but to confront it, with the hope that understanding it might one day help us break the cycle. This is where Uhry’s book and Brown’s lyrics truly shine, making the show as essential to see as “Wicked” or “Hamilton,” albeit for entirely different reasons. Its strength lies in the exploration of complex human emotions and connections. Director Michael Arden’s vision, through intimate staging, projections, and powerhouse performances, gives “Parade” far more impact than it had when it first debuted. It’s no wonder that the show won the 2023 Tony Award for Best Revival.
The beating heart of the musical is the relationship between Leo and his wife, Lucille, portrayed by Broadway veterans Max Chernin and Talia Suskauer. The duo masterfully conveys the gravitas required by such a weighty subject matter while also offering a glimmer of hope that, despite what we know, perhaps the outcome might change. Chernin captures Leo’s quirks and his “fish out of water” mentality, particularly evident in his first song, “How Can I Call This Home?” Meanwhile, Suskauer skillfully portrays Lucille’s internal struggle, torn between clinging to her privileged life and wanting to escape the ongoing trial. Each of their performances is finely calibrated, growing in depth as the show progresses. Their duet, “It’s Hard to Speak My Heart,” in Act II, is absolutely gut-wrenching.
The supporting cast is equally strong, with Griffin Binnicker’s portrayal of Tom Watson, the editor of an alt-right newspaper; Chris Shyer as Governor Slaton, caught between political pressure and moral responsibility; Andrew Samonsky as the pompous, fact-twisting prosecutor Hugh Dorsey; Ramone Nelson, who brings a chilling combination of soul and menace to Jim Conley; and Olivia Gooseman, a Michigan native making her Broadway national tour debut as Mary Phagan, all contributing to the steady, assured production. Special mention must go to Jack Rowden’s stirring performance during “There Is a Fountain/It Don’t Make Sense,” which left the audience in tears.
Arden’s staging is clever and evocative, with the cast, much like in “The Laramie Project,” rarely leaving the stage. Scenic designer Dane Laffrey fills the space with rows of wooden church pews, picnic benches, and dining room chairs, facing a raised central stage. Characters move seamlessly in and out, while lighting and projections keep the nearly three-hour production flowing smoothly. Act I feels like a marathon due to its heavy subject matter, but it sets the stage for a somber yet rewarding second half, which opens with two Black servants singing “A Rumblin’ and A Rollin’.” The song reflects their frustrations with the media coverage of Leo’s trial while their own families are being slaughtered, a stark contrast that highlights the systemic injustice at play.
As an audience member, it can be difficult to know when to applaud or when to simply let the musical speak for itself. During intermission, Leo remains on stage, confined to his cell without even a moment’s respite. Should we stand in solidarity with him? Can we applaud an opening number that includes racist rhetoric and displays of Confederate flags?
The answer is complicated, but “Parade”—like it did in 1998—deserves our undivided attention. It serves as a poignant reminder of the ongoing fight against bigotry and the importance of using our voices for the next generation. Leo Frank didn’t get justice, but he became a symbol of something much larger than himself. Can we say the same for ourselves?
PARADE is now playing at The Fisher Theatre in
Detroit through March 9th. Tickets can be purchased here.