Lady Beverly Cohn
Editor-at-Large
When entering the Ahmanson Theatre for the opening night of PARADE, one is immediately struck by the colorful set by scenic designer Dane Laffrey and my finely honed instincts just knew I was in for an exciting theatrical ride. By way of background, PARADE won the 2023 Tony Award for Best Revival of a Musical as well as Best Direction. It also won Best Book and Best Original Score in 1999. This could have been a challenge for the National Touring Company as in the past not all touring companies were up to the task. Well, I’m here to tell you, this is an astounding production that will keep you riveted to your seats from the opening note to the final curtain.
Photo Credit: Joan Marcus
PARADE, through a cast of uber-talented singers and dancers, tells the sad, but true story of a Jewish man named Leo Frank, magnificently sung and heartbreakingly characterized by Max Chernin. Frank is a transplanted New Yorker living in Georgia with his lovely southern wife Lucille, wonderfully acted and sung by Talia Suskauer. Educated at Cornell University in 1906, he is quite smart and carries that Ivy league vibe which is not understood by the locals. He has a good job as the efficient superintendent of a pencil factory and all is going well. But his comfortable life is about to change into what can only be called an American tragedy. The year is 1913 and Mary Phagan, a 13-year-old girl played by Olivia Goodman, works at the factory putting erasers on pencil tops, and is brutally murdered in the basement of the building. Hugh Dorsey, the local district attorney well played by Andrew Samonsky, begins interviewing possible murderers. The first person to be accused is Jim Conley, a black janitor well executed by Ramone Nelson. Dorsey decides that “enough black people have been convicted. Let’s go after the Jew.” To bolster his case, he interviews other potential “witnesses” including the family maid and a few of Mary’s young friends. He intimidates and manipulates them into giving false testimony resulting in a guilty verdict, a capital crime punishable by hanging.
with his wife Sally (Alice Ewing) entertain guests at their home.
Photo Credit: Joan Marcus
During the trial, Frank sings his defense: “It’s Hard to Speak My Heart.” During this ordeal, Suskauer’s character of Lucille experiences an interesting character arc as she slowly transitions from a quiet southern housewife into becoming her husband’s greatest advocate for an acquittal. She approaches Governor Slaton, well characterized by Chris Shyer, and convinces him that her husband is the victim of a miscarriage of justice. He agrees to investigate her allegations and perhaps reduce his sentence. Feeling hopeful, she visits her husband in jail, bringing a picnic lunch ending with their first and what turns out to be their last conjugal visit. But alas, even as the governor begins interviewing some of the witnesses who confess that they were forced to lie, on August 17, 1915 a vigilante group of rednecks in Marietta, Georgia kidnap the 31-year-old Frank from the jail and execute their own version of justice. That scene is particularly heartbreaking – as in his final moments he recites the “Shema,” a sacred Hebrew prayer. For any Jewish person in the audience that moment is quite emotional and tears flow. Frank was finally posthumously pardoned in 1986 and the miscarriage of justice he suffered spurred the intervention by the Anti-Defamation League which to this day is committed to fighting antisemitism worldwide.
And so unfolds the story of one of the greatest miscarriages of justice, with most of the exposition sung by a uniformly talented cast excellently serving Jason Robert Brown’s remarkable music and lyrics, which incorporates a variety of musical genres. The ensemble dance numbers, choreographed by Lauren Yalango-Grant and Christopher Cree Grant are highly spirited and sharply executed.
The on-stage action is augmented by dramatic rear screen projections of newspapers of the day showing the various people involved in this explosive trial, adding a sharp reality to this historic event. In some ways, the theatrical style could almost be akin to an opera, as so much of the story is told through 32 musical numbers wonderfully served by the principal players and talented ensemble all of whom are dressed in Susan Hilferty and Mark Koss’ costumes enhanced by Heather Gilbert’s glorious lighting. All the elements coalesce into a unforgettable evening of theatre.
PARADE has a short run, closing on Saturday, July 12th so you might want to make plans to see this extraordinary production before it closes.
PARADE
Ahmanson Theatre
135 N. Grand Avenue
Los Angeles, CA 90012
Book by: Alfred Uhry
Music: & Lyrics: Jason Robert Brown
Directed by Michael Arden
Tickets Begin at $40.25
Closing: Saturday, July 12, 2025
Genre: Musical
Running Time: 2 Hours 30 Minutes – One 20-Minute intermission
Performance Schedule:
Tuesday – Friday: 8:00pm
Saturdays: 2:00pm & 8:00pm
Sundays: 1:00pm & 6:30pm
Monday, July 7: 8:00pm
Thursday, July 10: 2:00pm
Reservations: www.CenterTheatreGroup.org
Phone: 213-628-2772
In Person: Center Theatre Group Box Office
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