The Tony Award-winning revival of Jason Robert Brown’s musical “Parade” marched into Emerson’s Colonial Theater on March 11.
“Parade” was adapted into a musical by Alfred Uhry (book) and Jason Robert Brown (music and lyrics). It premiered in 1998 and got its Broadway revival two years ago.
“Parade” tells the story of Leo Frank, who was convicted for the murder of 13-year-old Mary Phagan in Georgia in 1913. The rampant antisemitism present throughout Frank’s trial, as well as his subsequent lynching in 1915, made the case a notorious example of an unfair trial. In 1986, the state of Georgia granted Frank a posthumous pardon, but the case of Phagan’s murder is still ongoing.
While “Parade” mainly focuses on Frank’s trial, it does so while touching on interpersonal relationships, oppressive societal systems, and hope.
“It was definitely very ugly and scary but a wonderful reminder of why we’re telling this particular story and how special and powerful art and, particularly, theater can be,” Ben Platt, who played Leo Frank in the revival, told People Magazine.
These messages are primarily portrayed through the strength and talent of the entire ensemble. Each actor in the cast of “Parade” plays their role to a tee. The strongest performances come from both leads, Max Chernin (Leo Frank) and Talia Suskauer (Lucille Frank). However, Ramone Nelson as Jim Conley is a real standout. His rendition of “Blues: Feel The Rain Fall” brought the house down, with rampant applause on Wednesday night.
The play’s events are dwarfed by the set itself—the cast stood on a large, tall wooden platform in the middle of the stage, surrounded by chairs and desks. The layers draw the eye into the story; it feels like a courtroom. American flags are a prominent motif throughout the play, symbolizing American justice.
Each prominent character’s introduction is paired with a picture of the real-life figure they’re based on, which is projected on the backdrop. Other recurring backdrop images include headlines and evidence photos.
While primarily focusing on Frank’s struggles with prejudice and antisemitism, “Parade” also uses this context to speak about how racism affected his trial. In the second act of the opening number, “A Rumblin’ and a Rollin’,” a question is raised: Would people be so outraged about Mary Phagan’s murder if she was Black?
“Parade” doesn’t shy away from these facts and hones in on this aspect to show the complex intersectionality of the South’s systemic oppression at the time. One sentence to describe what the show says about oppression and intersectionality: What does it claim the link between antisemitism and racism is?
Overall, “Parade” is an immersive and eye-opening experience. With brilliant performances, direction, and set design, the cast and production team tell a story that feels all too relevant in today’s divided political climate, where polarization and picking sides seem to dominate local and national agendas. Although a hard pill to swallow, “Parade” aims to highlight the beauty of hope, something that shines through the ugliness of hate, oppression, and violence.
“Parade” is at the Colonial Theater until March 23. The Colonial Theater offers $25 student rush tickets for every performance.
