Booked & Scene

Parade first premiered on Broadway in 1998 with a score by Jason Robert Brown and a book by Alfred Uhry. The musical tells the true story of Leo Frank, a Jewish factory manager in Georgia who is accused of murdering a young girl named Mary Phagan in 1913. The trial, influenced by racial and religious prejudice, becomes a media spectacle, exposing deep-rooted hatred and injustice in the American South. Parade explores the devastating consequences of a society consumed by fear and bigotry — and the fragile hope that can emerge even in the darkest moments.

Leading the Charge 

Max Chernin and Talia Suskauer don’t just perform as Leo and Lucille Frank — they embody them with a level of emotional rawness that feels almost intrusive to witness. To step onto a stage eight times a week and tell a story this devastating — rooted in such a dark and shameful chapter of American history — takes more than just talent. It takes courage. Chernin’s portrayal of Leo is haunting in its restraint — a quiet man forced into a storm he cannot control — and the way his composure slowly unravels is heartbreaking. Suskauer’s Lucille is the heart of the show — her transformation from dutiful wife to fierce advocate is nothing short of breathtaking. Their chemistry is electric, and the vulnerability they share in moments of quiet intimacy makes their final scenes almost unbearable to watch. When they sing together, their voices are so perfectly matched that it feels like time stands still. The honesty they bring to these roles, in a time when the political and social themes of Parade feel chillingly relevant, makes their performances not just impressive — but vital.

Voices that Demand to Be Heard

Ramone Nelson as Jim Conley — wow. His voice, his mannerisms, and the humor he infused into the role were absolutely flawless. Robert Knight as Newt Lee delivered solos that stopped me in my tracks, and Danielle Lee Greaves as Minnie McKnight balanced her role as the Franks’ housekeeper with the moral complexity of lying on the stand — a standout performance. Prentiss E. Mouton and Oluchi Nwaokorie infused “A Rumblin’ and a Rollin’” with a level of humor and energy I hadn’t seen before, and it worked so well. Prentiss’ delivery of the haunting line, “there’s a black man swingin’ in every tree but they don’t never pay attention,” gave me chills. Each Black cast member brought incredible depth and strength to the production, tackling the complex racial themes with authenticity and grace. They deserve all the recognition for the emotional and mental weight they carry in these roles.

The Devils in the Details 

Andrew Samonsky as Hugh Dorsey and Griffin Binnicker as Tom Watson do almost too good of a job in their villainous roles — because boy, did I hate them (which means they’re doing their jobs perfectly). Samonsky’s portrayal of Dorsey is chilling, especially when you consider how his manipulative tactics still mirror modern-day issues of police corruption and witness coaching. Binnicker’s Tom Watson weaponizes religion to stoke hatred and fear, relying on Southern Christianity to control the narrative. Both actors deliver committed, chilling performances that linger long after the curtain falls. The level of conviction they bring to their roles — and the bonds they must have with their fellow cast members to embody such hatred — is truly remarkable.

Strength in Numbers 

The entire ensemble deserves endless praise for their cohesion and emotional strength. Jack Roden as Frankie Epps embodied the heartbreak of young loss beautifully, and his character arc was so compelling. Chris Shyer as Governor Slaton was magnetic, delivering the rare comedic line with perfect timing while also portraying the moral weight of his position. Bailee Endebrock was delightful in her multiple roles, especially as Monteen and Lila in the opening number. The ensemble’s constant presence on stage created a sense of community — both the support and the mob mentality — that made the production feel even more immersive. The orchestra was flawless, capturing Jason Robert Brown’s sweeping score with precision and heart.

Echoes of the Past in the Present 

Though Parade is set in 1913 Georgia, the themes of racial and religious intolerance, political corruption, and the dangers of media sensationalism feel disturbingly relevant today. Watching this production is like holding up a mirror to the political and social climate we’re living in — the scapegoating of marginalized communities, the distortion of truth for personal and political gain, and the terrifying ease with which a mob can be riled into violence. Parade doesn’t just ask you to bear witness to this history — it demands that you sit with the discomfort and recognize how little has changed.This production forces the audience to confront these uncomfortable truths head-on — and that’s exactly why it’s so important. If you have the chance to see Parade while it’s in Boston, GO. This is theatre at its most powerful — raw, timely, and necessary. 

Parade is at Emerson Colonial Theatre now through March 23. Tickets can be purchased online at emersoncolonialtheatre.com