More often than not, musicals become platforms to discuss social issues of the past and present. The Tony Award-winning musical “Parade” opened at Ford’s Theatre in D.C. Sept. 23, bringing to the area an unconventional depiction of the South, the prejudices within our society and the dangers of mob mentality.
The musical depicts actual events that occurred during the court case of Leo Frank, a Jewish northern transplant convicted of murdering Little Mary Phagan, a 13-year-old factory worker.
The story unfolds in Atlanta during the early 1900s, a setting that shapes the characters and their actions. The defining, recurring element of the musical is the Confederate Memorial Day parade, which occurs year after year, regardless of Frank’s circumstances, and illuminates the differences between Frank and his Southern counterparts.
Frank undergoes a transformation over the course of the musical. At the beginning of the story, he is an unhappy, distant man with a biting tongue. Out of the ashes of pain and suffering, however, comes a new version of Frank. This one, although weathered by the physical and emotional toll of the trial, has a newfound appreciation for those around him.
Euan Morton effectively portrays Frank and his emotional transformation, captivating the audience with a spirited performance that not only aroused sympathy, but also doubt regarding his guilt. Did Leo Frank commit the murder for which he was lynched? At the end of the play, the answer to the question is less important than the examination of the tensions that caused the lynching.
Jenny Fellner also distinguishes herself through an emotional portrayal of Frank’s wife, Lucille. As a Southern and Jewish woman, the character of Lucille Frank fulfills two roles, a duality that Frank himself struggles to accept, implying that the two are inherently different. Fellner’s performance, especially during the final scene, in which she walks among her gleeful fellow southerners while she is in mourning, emphasizes this duality. Fellner manages to convey sadness, confusion, pride and a desire to be accepted over the course of a few minutes during the play’s conclusion.
This performance of “Parade” is enhanced by Stephen Rayne’s excellent direction. Each scene of the musical is fast-paced, with effective transitions between scenes that are facilitated by the music and lighting.
The music alters the atmosphere of each scene, aiding in the transition from serious to humorous. The lighting, whether it is being used as a backdrop or as the central focus of the scene, as when gunshots were recreated using quick flashes of colored light, is impressive. On stage, each character is confident in their movements and interactions with other characters, adding an air of reality to the play.
The set, a brick façade with a set of stairs and doors at either side of the stage, is simple in design. However, the musical uses the set in creative ways, transforming it believably from a jailhouse to a ballroom without changing any element of the design. This display of creativity and the utilization of the actors as props engage the audience members, drawing each person into this lively yet emotional account of Leo Frank.
“Parade” is a well-executed depiction of the story of one man and the nuances of the society that led to his downfall.
