The musical is described as “gloriously hopeful, Parade reminds us that to love, we must truly see one another.” Describing it as gloriously hopeful seems misplaced.
By John Lavitt
Los Angeles, CA (The Hollywood Times) 06/20/2025
With a conviction that involves a lot of Southern celebrations, Michael Arden directs the Center Theatre Group production of Parade at the Ahmanson Theatre. He leads the revival of the New York City Center production with Charlie Alterman as the musical director. This staging addresses a brutal historical court case and seeks redemption through human connection. Such redemption feels like a fairy tale that never truly comes to fruition.
In the storyline, Max Chernin and Talia Suskauer serve as the emotional anchors of a tragic tale. Portraying Leo Frank, a Northern Jew caught in a Southern nightmare, Chernin’s performance is both restrained and electric. Opposite him, Talia Suskauer embodies the complex character of Lucille Frank. She evolves from a quiet, frustrated spouse into a heartbreaking advocate, fighting for her husband’s life. Their bond becomes the emotional center of Parade. Such emotion sustains the audience but cannot surpass the historical horror at the heart of the story.
As the earnest Governor John Slaton, Chris Shyer helps to humanize the story. Despite going against the conservative grain of his constituency, his commitment to doing good rings true. Side by side, with energy and verve, Alison Ewing portrays Sally Slaton with compassionate resolve. Their relationship offers another ray of integrity, demonstrating how love can inspire yet fail to save those who are flawed. It does not overturn the deep injustice that crushes hope.
The score by Jason Robert Brown and the book by Alfred Uhry remain powerful. Songs such as “You Do Not Know This Man” and “All the Wasted Time” radiate empathy, highlighting Leo and Lucille’s fragile humanity amid increasing consternation. Additionally, the duet by the Governor and his wife in “Pretty Music” sparkles with genuine souls caught in a storm beyond their control.
In 2025, this production arrives as our world once again grapples with misinformation, blind prejudice, and a failing conscience. The parallels could not feel more potent. The hysteria surrounding Leo Frank’s trial resonates dangerously in today’s headlines. What matters no longer is the truth. Instead, our country has succumbed to the boiling passions of a mob mentality.
Although Parade is moving, it is not redemptive in any way. While it allows us to feel love, despair, and conviction, it fails to provide answers or a deeper understanding of the horror that drives such ugliness. That is the uncomfortable truth, yet the musical leans toward an invented solace.
It concludes not with closure, but with a haunting reminder. Human love and moral clarity shine brightly. They shine, but they cannot reshape a world driven by hate. This Parade does more than recall history; it reminds us why we must remember it. At the Ahmanson, it sings with heart and confronts with fervor, but it falters when it tries to smooth over an ugly story with a bow and a smile.
Photos by Joan Marcus
