“Parade” began its limited two-week run in Boston March 11 at the Emerson Colonial Theatre as part of its second-ever national tour.
While “Parade” was originally written in 1998, the national tour is based on the 2023 Broadway revival, which was nominated for six Tony awards and won two, including Best Revival of a Musical.
“Parade” follows the true story of Leo Frank (Max Chernin), a Jewish superintendent of an Atlanta pencil factory who was wrongly convicted in 1913 for the murder of 13-year-old factory employee Mary Phagan (Olivia Goosman). During his journey, Leo’s relationship with his wife, Lucille Frank (Talia Suskauer), is tested before he is ultimately kidnapped and lynched for the crime.
Chernin did not disappoint in his performance, fully encapsulating Leo’s emotional journey from a cold, distant and angry man to a loving, vulnerable husband and fighter for justice. This was especially prevalent in a scene where Lucille visits Leo in prison, and he brushes off any consoling sentiments she has to offer. Chernin’s expressive outbursts and aggrieved mannerisms made the scene, showing Leo’s personality and internal conflicts. Chernin’s commitment extended so far as to stay in character through the show’s 20-minute intermission, as Leo paces and lies on a bench in his jail cell, symbolizing the two years between the play’s first and second acts.
Suskauer stood out in her flawless portrayal of Lucille’s compassion, resilience and devotion. Delivering multiple solos, like in “What Am I Waiting For?” and “You Don’t Know This Man,” Suskauer’s strong stance and emotionally charged vocals established Lucille’s courageousness and loyalty.
Chernin’s and Suskauer’s talents were best showcased together in the second act during their duet, “This Is Not Over Yet.” The two effortlessly embodied the roles of Leo and Lucille as they reconnected over a picnic in Leo’s jail cell after bribing the guard, finally showing their appreciation and love for one another. The strength of their vocals magnified their chemistry, as they gazed passionately at each other.
The show’s score successfully emphasizes tense moments while contributing to the beauty of slow ones, proving why the original 1998 show won a Tony for Best Original Score. In songs like “The Trial: Hammer of Justice,” fast-paced, repetitive notes alternate from being a constant to swelling into more dramatic parts of the scenes. Other songs featured slow, delicate piano and string melodies in quiet moments of reflection, such as in “My Child Will Forgive Me,” during which Mrs. Phagan (Jenny Hickman), Mary’s mom, sings about her regrets for not being able to do more for her daughter.
“Parade” maintained a focus on the story through a relatively simple set consisting of a raised platform at center stage with stairs and rustic wooden chairs and benches on either side. Semi-circular American flag banners lined the edge of the stage, while props such as United States and Confederate flags, woven baskets and lace tablecloths were used in an intentionally sparing way. Despite having an unchanging set, the show was never dull, seamlessly repurposing props and furniture to fit each new environment.
The most immersive on-stage element was the projections of real locations and people from the murder case in the background, allowing audience members to truly feel transported into 1910s Georgia. Pictures of key locations and projections of newspaper headlines helped fill in any extra context that the immutable set might have lacked. The peak of the scene-setting projections occurred in the second act, where photographs of the real hanging of Leo Frank were projected alongside the play’s portrayal of the hanging as the loud clang of a bell reverberated throughout the silent theatre.
Period-accurate costumes also contributed to the show’s successful realism. Many of the men wore three-piece suits with waistcoats or military uniforms from the time, while the women wore long-sleeve, collared blouses with long, flowy skirts, a belt and, sometimes, an apron. Accessories such as lace gloves and parasols for women and flat caps and bowler hats for men were also prominent.
Children’s fashion of the time was reflected through Mary and her friends’ high-waisted pongee dresses consisting of one plain color and pattern. Mary’s magenta dress stood out among her friends’ duller red and green dresses and, coupled with the balloon she held throughout the show and her hair ribbon, highlighted her innocence as seen by the community.
The production’s blocking seamlessly moved a large cast across a small stage, creating smooth transitions between scenes and musical numbers despite a slightly cramped environment. The choreography, which included raising props with one arm, isolated movements, spins and hurried pacing skillfully portrayed the outrage of the townspeople convinced of Leo’s wrongdoing. At times, it felt awkward for those not convinced of this. During a courtroom scene when witnesses testify against Leo, Lucille and Luther Rosser (Brian Vaughn), Leo’s lawyer, are left simply sitting, looking neutral or at least annoyed. As a result, their reactions felt too tame at times compared to other scenes.
“Parade” left audiences with a powerful history lesson on one of the most influential American lynching and antisemitism cases of the time. In the show’s epilogue, projected words informed the audience that Leo’s case was reopened in 2019 and is still ongoing, emphasizing that while the show was over, the story is not.
“Parade” will be at the Emerson Colonial Theatre through March 23.
