Proctors Theatre in Schenectady, N.Y.
Book by Alfred Uhry
Music and lyrics by Jason Robert Brown
Directed by Michael Arden
“And you don’t know this man.”
Prejudice runs rampant in Alfred Uhry and Jason Robert Brown’s superb musical, “Parade,” now on stage at Proctors Theatre in Schenectady, N.Y. Based on the facts of a 1913 murder in the National Pencil Factory in Atlanta, Ga., racism clearly plays a major role in the trial of Jewish-American supervisor Leo Max Frank (born in Texas, raised in Brooklyn, educated at Cornell University). Accused of murdering day-worker Mary Phagan, and probably raping her as well, Frank’s Jewish background played a major role in his persecution and prosecution, outstripping the suspicion of a Black janitor who was also arrested in this case. Frank was recently wed to Lucille Selig from a prominent Jewish family in Atlanta, and after her first reluctance to support him in this case became his most ardent booster. The murder trial and its aftermath inspired the resurgence of the Ku Klux Klan in 1915.
The musical is almost operatic in its composition format, opening with a solemn chorus celebrating the state of Georgia and moving through duets, solos, ensembles, and the punctuation of rhythms that celebrate the dance forms of the period as well as the somber emotional text of the show’s messages. Its melodies are accessible and as familiar as the show’s exploration of prejudice. The current cast brings beautiful voices to bear and the show’s glories rest with them, even as the story takes apart the historical understanding of who these people were and what they believed and acted on in this pre-World War I era.
Leo and Lucille are respectively played by Max Chernin and Talia Suskauer. They are a handsome couple, and Suskauer has a special voice that she uses for the dramatic effect that defines Lucille Frank. Particularly in the second act when she sings her aria, “Do It Alone,” and the duet with Chernin, “This is Not Over Yet,” her voice and her dramatic ability are riveting. Chernin is her vocal mate, although his character is calmer and more complacent, and this limits his dramatic impact in their music.
Among the other stand-out performers is the entire cast. It is rare that such an ensemble of players make such an impact. Thirty major and minor roles are assumed by this cast, and all of them, including three girls whose testimony ultimately proves to be contrived, give this musical (an artificial form of truth) the reality that shakes the audience’s belief in what is real.
In terms of production values, the excellent set designed by Dane Laffrey easily enables director Michael Arden to move his cast of characters around easily and gracefully. Heather Gilbert’s lighting design and Sven Ortel’s projections make the show a fascinating watch. The period costumes designed by Susan Hilferty and Mark Koss are perfect.
Choreography by Lauren Yalango-Grant and Christopher Cree Grant definitively defines the period and is fun to watch. Michael Arden has given us a swell picture of the turn-of-the-century southland, its prejudices, and its pride.
This production only has two more days in Schenectady before it sets out on its national tour, and I encourage musical theater fans, historians, religion advocates, and just about everyone else to get in their cars and see this while you can. It is one of those shows which that be produced every 15 years so that new generations can both enjoy it and learn from it the awful truths about American failings.
“Parade” plays at Proctors Theatre in Schenectady, N.Y., through January 17. Visit Proctors’ website to order tickets.