PARADE
Book by Alfred Uhry
Music and Lyrics by Jason Robert Brown
Co-conceived by Harold Prince
Directed by Michael Arden
Bernard B. Jacobs Theatre
Official Website
Reviewed by David Spencer
I’ve always kind of admired Parade—the construction of its libretto by Alfred Uhry, the inventive brilliance of its apt score by Jason Robert Brown—without being a fan of it. For reasons that I’m no longer comfortable sharing, let’s leave it as a personal reaction to the material. But putting that aside, which, to review the revival responsibly, I must, I’m paradoxically happy to report that most of the caveats attending its initial reviews—when an earlier version of the show made its Broadway debut at Lincoln Center a quarter-century ago—have been rendered moot in the current American climate.
Well, happy may be the wrong word. Sad too. In 1998 there was certainly partisan division In America, and reason to distrust conservative politicians—but then, Parade seemed an artifact of ‘60s agit-prop/social-awareness drama. Despite being set in 1913, with the arrest, conviction and trial of Leo Frank (Ben Platt), for the murder of a child that he did not commit—it felt like the kind of Fascism Can Rise Again warning of men (Jewish men in particular) who had lived through World War II. (Mr. Brown had not, of course, but the shared cultural background and sensibility with Mr. Uhry and director Harold Prince were sufficient connection.) And in 1998 it felt like a musical out of its proper time.
The irony is that its proper time was not several decades in the past but would be several decades in the future. Parade, which may now well be seen as a metaphor for sane government vs MAGA-base pandering, dramatizing the plight of those caught in the middle—both the unwilling victims and the too-often-willingly duped—could not have returned at a better time to find its audience and make its impact.
What’s also true is that the show is better than the version that debuted. The authors have more finely calibrated its focus, rebalancing the narrative (for example: a reporter character that was formerly treated as a secondary lead who never paid off is now proportionately presented as supporting character) and sharpened/edited the dialogue to avoid confusion of tone (such as having New-York-raised Leo’s attitude toward Georgia [and Southern gentiles] go past culture clash and “natural” antipathy into the kind of bigotry he and his crusading wife Lucille (Michaela Diamond) would hope to defeat: for example, there used to be a line where Leo triumphantly made the distinction between “Southern people” and “Real people”—and it was meant for the audience’s approval). The script is now lean, muscular and on point.
The production (direction: Michael Arden) is more in the show’s favor too. A remount of the recent Encores! concert, it is costumed extravagantly (Susan Hilferty) yet set-designed near-minimally (Dane Laffrey). This is an amazing asset to the script and score because it draws the audience into the show by engaging their imagination; and lets them emerge into its theme, rather than having it shoved Into the fore via illustration. (Not to take anything away from the brilliant Hal Prince, but his love of scenic symbolism could get the better of him at times…and it did with Parade, in which the birch that would be Leo’s hanging tree was a visible part of the set from start to finish—hard job stirring the audience toward hope when the gallows branch is a constant reminder that, no matter how much progress may be made, doom awaits.)
Beautifully acted and sung (excellent musical direction by Tom Murray), Parade in revival is that too-rare event: a neglected-but-worthy show that comes into its own via refinement and, for good and ill, serendipity. And that’s worth joining the parade for.