@showsiveseen Alfred Uhry & @JRB's "#Parade" #musical at @The 5th Avenue Theatre. Starring @maxcherns & @Talia Suskauer. Prescient message for these troubling USA times. Glorious ensemble. Interesting dissonant musical mashups. Critical commentary on #theSouth. Leaves Seattle on 5/4! #Review: showsiveseen.com/12586 Photos: Joan Marcus Director: Michael Arden Music Director: @altermancharlie Choreo: @Lauren & Christopher Grant Stage Mgr: Veronica Aglow, TJ Kearney, Egypt Dixon #southern #theatre #showsiveseen @Parade Tour #georgia #paradeMusical ♬ original sound – Parade Tour
Elevator Thoughts (aka Tweet): Alfred Uhry & Jason Robert Brown’s Parade musical at The 5th Avenue Theatre. Starring Max Chernin & Talia Suskauer. Prescient message for these troubling USA times. Glorious ensemble. Interesting dissonant musical mashups. Critical commentary on the South. Leaves Seattle on 5/4!
See it, especially if you enjoy “earthy” musicals like Girl from The North County
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Probably not, but it was good.
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): Based on a true story, a Jewish man is accused of a crime punishable by death. Can he expect a fair trial in the courts of the conservative Deep South?
Synopsis from the Licensor or Theatre Company: Based on a true story, Leo and Lucille Frank are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, the aftermath propels them into an unimaginable test of faith, humanity, justice and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another. The New York Times hails it as a Critic’s Pick and “the best-sung musical in many a New York season. It recalls an era of big casts, big stories, and big talent – a time when musicals actually felt like events.”
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Mostly static
Prior Exposure/Knowledge Required: No, but you might appreciate this more if you’re remotely familiar with American history.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actors: All
Total Actors: Too many to count
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.75 hours
Other Rave(s)
- Timely Message: Book writer Alfred Uhry’s message was relevant to the xenophobic realities we’re facing today like anti-immigrant and anti-refugee sentiment where due process is often undermined by ICE. Throughout the entire first act, I felt tense knot in my stomach as a visceral reaction to the injustices portrayed onstage that mirror those unfolding around us today.
- Musical Contradictions: Composer Jason Robert Brown’s score masterfully creates discomfort through dissonance, often by transposing cheerful melodies into minor keys or pairing uplifting tunes with somber moments (and vice versa). The unexpected mashup between “It Don’t Make Sense” with the well-known hymn “There Is a Fountain Filled with Blood” was a fascinating, unconventional blend. One song was damning while the other song was redeeming. Additionally, the upbeat music juxtaposed against a death sentence scene was particularly haunting.
- Symbol of Innocence: The simple balloon prop to evoke innocence was striking. The loss when flying away served as a poignant metaphor to symbolize violated innocence. It might have been even more impactful if the balloon popped suddenly as it rose to the theatre rafters.
- Ensemble Songs: The moments when the full cast came together in song were majestically glorious, particularly in the opening anthem “The Dream of Atlanta.” Unfortunately, as is often the case with mass ensemble numbers in musical theatre, the lyrics were difficult to understand.
- Voices: While there weren’t many moments for Max Chernin (who played Leo Frank) to fully display his vocal talents, he certainly made an impact with his twisted “Come Up to My Office” song. Additionally, Ramone Nelson (who played Jim Conley) showcased his smooth voice in both “That’s What He Said” and “Feel the Rain Fall.” Of note, Chernin and Nelson expertly mirrored each other like mimes during “That’s What He Said.”
- Tom Watson: It was fitting (but probably not intentional) for the villain Tom Watson (played by Griffin Binnicker) to visually resemble JD Vance. Additionally, Binnicker’s sharp tenor voice brought a striking edge to the character and added a fresh layer of menace. It was a welcome departure from the typical bass or baritone parts sung by evil characters.
- Southern Culture: Leo Frank’s line, “I didn’t understand that being Southern isn’t just being in the South,” was a poignant reflection on the complexities of Southern identity. This show was a critical commentary of Southern culture, exploring the region’s deeply rooted issues. The production powerfully underscored the South’s unwavering pride in its Confederate past. It’s a backwards place where the state flag, the Confederate flag, and the USA flag can fly side by side. Thank goodness I no longer call this place home.
- Southern Dialect: Speaking of the south, dialect coach Dawn-Elin Fraser made sure the actors’ Southern diction and accents were masterfully delivered, each word slipping from their mouths like the rich Savannah molasses.
- Projections: As each new character appeared throughout the show, projection designer Sven Ortel displayed their names and original historical portraits onto the backdrop of the stage. This was especially helpful, as it is often challenging for me to keep track of character names in theatre … and in life! It was the theatre equivalent of name tags.
- Intermission: During intermission, Max Chernin uniquely remained in-character and aimlessly wandered around his prison cell without stepping offstage. This offered something for the audience to watch while waiting for the second act to begin. I assumed he finally got his mid-show break time during some scenes without him in the beginning of the second act. Sadly, this means he can never interact with the rest of the cast in a more laid-back intermission setting.
- Human Nature: The show masterfully explored the darker sides of human nature, like bribery, extortion, corruption, and villainization. Much like primal animals, the angry mob fueled by a sense of injustice desperately searched for any scapegoat to vilify. This was powerfully reflected by the townspeople’s outraged response in the song “That’s When He Said.” It underscored how some lynchings are not always physical, but are sometimes social or psychological. The play starkly illustrated how easily a crowd can be swayed by lies and manipulation, much like prosecutor Hugh Dorsey’s (played by Andrew Samonsky) theatrical use of a bloody dress to elicit an emotional reaction from a grieving mother. The entire experience echoed the manipulative hysteria of The Crucible.
Other Musing(s) and Observation(s)
- Hook: The musical opened with a handsome man undressing before a brief sex scene. While I appreciate a strong theatrical hook (and he was certainly hot), the moment felt unrelated to the rest of the show like it was gratuitously milking the “sex sells” phenomenon.
- Broadway Cares: I haven’t seen a Broadway Cares post-curtain call appeal at the end of a national tour since before COVID-19! Are we closer to a better financial place in the theatre?
- First Act Ending: The conclusion of the first act was like the conclusion of a Sondheim musical first act since it culminated in a moment that felt like a natural endpoint for the entire show.
- Vulnerability: At the start, Leo Frank came across as somewhat elitist and entitled, particularly when he requested a special diet in prison without any sense of humility. His attitude conveyed an “it can’t happen to me” mentality. It reminded me of the many privileged individuals today that fail to grasp the vulnerability of their own rights as the rights of others are gradually eroded before our very eyes. This echos sentiments of the famous “First They Came” poem, which serves as a stark reminder of how easily injustice can spread until it affects us personally.
- Double Standard: Throughout the first act, I reflected on the widespread outrage surrounding young Mary Phagan’s brutalization in comparison to 1990s JonBenét Ramsey. Both were innocent, beautiful white girls with the privilege of easily evoking sympathy from the general public. It struck me that people of color, in similar circumstances, wouldn’t garner nearly as much public outcry, if any at all. I felt somewhat vindicated when the second act’s opening number, “A Rumblin’ and a Rollin’,” brought this double standard to the forefront.
- Parade: The reasoning behind the parade motif felt unclear. While it’s obviously a significant symbol (given that the show is named after it) its relevance to the story was not evident. I do like the explanations offered on Reddit though.
- Perpetrator: This particular performance seemed to imply that the actual perpetrator was a different character than the person traditionally believed to have committed the crime.
Theatre Company: National Tour Courtesy of The 5th Avenue Theatre
Venue: The 5th Avenue Theatre
Venue Physical Address: 1308 5th Ave, Seattle, WA 98101
Price Range: $40 to 150
Ticket Affordability Options: The 5th Avenue Theatre often partners with organizations you’re affiliated with for discount tickets. For example, they sometimes offer a discount for my employer affiliation. Rush tickets are typically also available the day of the performance at the box office.
Dates: 4/16/25 to 5/4/25
Seating: Assigned Seating
Parking: When I don’t walk to the theatre or park on the street, I park in the paid garage at the Motif Hotel northwest of the theatre. The entrance is on 5th Ave. Do NOT park in the APA Coast Seattle Downtown Hotel garage (entrance on 6th Ave). That’s where most of the audience (and I think the subscribers) parks, so it’s a nightmare to leave. However, the APA Coast Seattle Downtown Hotel garage is the closest garage to the theatre and you can access the theatre through a tunnel if you want to avoid the elements. But, in my opinion, this benefit is not worth the time wasted leaving the garage.
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Pictures: See production pictures below by Joan Marcus.
Cast and Production Team: See after pictures below.
