Leo Frank, the superintendent of a pencil manufacturing unit in Georgia, was accused of murdering a younger worker, 13-year-old Mary Phagan. His 1913 trial led to his conviction regardless of shoddy proof and the manipulations of an formidable prosecuting lawyer, who shamelessly preyed on the prejudices of the jury.
After a collection of failed appeals, Frank’s sentence was commuted by the governor, however he was kidnapped and lynched by a mob enraged that his dying sentence wasn’t being imposed. The story garnered nationwide consideration and threw a highlight on the fault traces of our legal justice system.
This darkish chapter in American historical past won’t appear appropriate for musical therapy. Docudrama could be the safer solution to go, given the gravity of the fabric. However playwright Alfred Uhry and composer and lyricist Jason Robert Brown had a imaginative and prescient of what they may uniquely deliver to the retelling of Frank’s story.
Olivia Goosman, from left, Jack Roden and the nationwide touring firm of “Parade.”
(Joan Marcus)
Their 1998 musical was a crucial hit however a troublesome promote. Extra admired than beloved, the present has prolonged an open problem to theater artists drawn to the subtle majesty of Brown’s Tony-winning rating however daunted by the expansive scope of Uhry’s Tony-winning e book.
Director Michael Arden has answered the decision in his Tony-winning revival, which has arrived on the Ahmanson Theatre in sharp kind. The manufacturing, which launched at New York Metropolis Heart earlier than transferring to Broadway, proved {that a} succès d’estime may be an emotionally stirring hit.
“Parade” covers lots of cultural, historic, and political floor. The trial, prefaced by a Civil Battle snapshot that units the motion within the correct context, takes up a lot of the primary act. However the musical additionally tells the story of a wedding that grows in depth as exterior actuality turns into extra treacherous.
It’s quite a bit to type by means of, however Arden, working hand in hand with scenic designer Dane Laffrey, has conceptualized the staging in a neo-Brechtian trend that enables the historic background to be seamlessly transmitted. Sven Ortel‘s projections smoothly integrate the necessary information, allowing the focus to be on the human figures caught in the snares of American bigotry and barbarism.
Danielle Lee Greaves, left, and Talia Suskauer in the national tour of “Parade.” Suskauer plays Lucille, Leo’s spouse.
(Joan Marcus)
The 2007 Donmar Warehouse revival, directed by Rob Ashford, got here to the Mark Taper Discussion board in 2009 with the promise that it had lastly found out the musical. The manufacturing was scaled down, however the full efficiency of “Parade” wasn’t launched. An earnest layer of “importance” clouded the viewers’s emotional connection to the characters, even when the Taper was a extra hospitable area for this dramatic musical than the Ahmanson.
Arden’s manufacturing, without delay intimate and epic, comes by means of superbly nonetheless on the bigger stage. “Parade,” which delves into antisemitism, systemic bias in our judicial system and the ability of a wily demagogue to stoke atavistic hatred for self-gain, has a disconcerting timeliness. However the manufacturing — momentous in its subject material, human in its theatrical model — lets the up to date parallels communicate for themselves.
Ben Platt, who performed Leo, and Micaela Diamond, who performed Leo’s spouse, Lucille, made this Broadway revival sing in essentially the most personally textured phrases. For the tour, these roles are taken over by Max Chernin and Talia Suskauer. Each are glorious, if much less radiantly idiosyncratic. The modesty of their portrayals, nonetheless, subtly attracts us in.
Chris Shyer, left, and Alison Ewing play Governor Slaton and his spouse, two of the extra noble figures within the present.
(Joan Marcus)
Chernin’s Leo is a cerebral, Ivy League-educated New Yorker misplaced within the trivialities of his manufacturing unit obligations. A numbers man greater than a folks individual, he’s a fish out of water in Atlanta, as he spells out within the music “How Can I Call This Home?” Platt performed up the comedy of the quintessential Jewish outsider in a land of Accomplice memorials and drawling manners. Chernin, extra reserved in his method, seethes with futile terror.
The withholding nature of Chernin’s Leo poses some theatrical dangers however goes a great distance towards explaining how the character’s otherness could possibly be turned towards him in such a malignant approach. His Leo makes little effort to slot in, and he’s resented all of the extra for his lofty detachment.
It takes a while for Suskauer’s Lucille to come back into her personal, each as a spouse and a theatrical character. It isn’t till the second half that, confronting the upcoming dying of her husband, she asserts herself and rises in stature in each Leo’s eyes and viewers’s. However a glimmer of this potential comes out within the first act when Lucille sings with plaintive conviction “You Don’t Know This Man,” one of many standout numbers in a rating distinguished much less by particular person tunes than by the ingenious deployment of an array of musical kinds (from navy beats to people ballads and from hymns to jazz) to inform the story from totally different factors of view.
Max Chernin’s Leo is a cerebral, Ivy League-educated New Yorker misplaced within the trivialities of his manufacturing unit obligations.
(Joan Marcus)
“This Is Not Over Yet” raises hope that Leo and Lucille will discover a solution to overcome the injustice that has engulfed them. Historical past can’t be revised, however the place there’s a music there’s at all times an opportunity within the theater. Actuality, nonetheless, painfully darkens within the poignant duet “All the Wasted Time,” which Lucille and Leo sing from his jail cell — a seized second of marital bliss from a husband and spouse who, because the final hour approaches, have lastly grow to be equal companions.
Ramone Nelson, who performs Jim Conley, a Black employee on the manufacturing unit who’s suborned to testify towards Leo, delivers the rousing “Blues: Feel The Rain Fall,” a sequence gang quantity that electrifies the home regardless of the defiance of a person who, having recognized little justice, has little interest in defending it. Conley has been sought out by Governor Slaton (a gently authoritative Chris Shyer), who has reopened the investigation at Lucille’s urging solely to uncover contradictions and inconsistencies within the case. He’s one of many extra noble figures, nonetheless reluctant, married to a lady (a vivid Alison Ewing) who gained’t let him betray his integrity, even when it’s too little, too late.
Hugh Dorsey (Andrew Samonsky), the prosecuting lawyer preoccupied along with his future, has no regrets after railroading Leo in a politicized trial that can price him his life. Dorsey is without doubt one of the chief villains of the musical, however Samonsky resists melodrama to discover a credible psychological throughline for a person who has staked his profession on the ends justifying the means.
Lucille (Talia Suskauer, left) and Leo (Max Chernin) sing a poignant duet from his jail cell.
(Joan Marcus)
Britt Craig (Michael Tacconi), a down-on-his-luck reporter who takes enjoyment of demonizing Leo within the press, dances on his desk when he’s landed one other slanderous scoop. However even he’s extra pathetic than hateful. One signal of the manufacturing’s Brechtian nature is the way in which the structural forces at work in society are revealed to be extra culpable than any particular person character. The press, like the federal government and the judiciary, is a part of a system that’s poisoned from inside.
The reminiscent of the Civil Battle isn’t in useless. “Parade” understands that America’s authentic sin — slavery and the financial equipment that sanctioned the dehumanization of teams deemed as “other” — can’t be divorced from Leo’s story.
The musical by no means loses sight of poor Mary Phagan (Olivia Goosman), a flighty underage woman who didn’t need to be savagely killed at work. It’s exceedingly unlikely that Leo had something to do together with her homicide, however the present doesn’t efface her tragedy, even because it reckons with the gravity of Leo’s.
When Chernin’s Leo raises his voice in Jewish prayer earlier than he’s hanged, the reminiscence of a person whose life was wantonly destroyed is momentarily restored. His lynching can’t be undone, however the dignity of his identify may be redeemed and our collective sins may be known as to account in a gripping musical that hasn’t a lot been revived as reborn.
‘Parade’
The place: Ahmanson Theatre, 135 North Grand Ave., L.A.
When: 8 p.m. Tuesdays-Fridays, 2 and eight p.m. Saturdays, 1 and 6:30 p.m. Sundays. Ends July 12
Tickets: Begin at $40.25
Contact: (213) 628-2772 or centertheatregroup.org
Working time: 2 hours, half-hour
