Displaying items by tag: Parade

Walking into the CIBC Theatre, the first thing any audience member will notice is Scenic Designer Dane Lafrey’s stage. We are unmistakably in a courthouse – with a platform at the center and various forms of seating surrounding it. For those familiar with the story, you might make the connection that the musical itself heavily revolves around a court case, and perhaps the creative team is leaning into that theme.

Then the lights dim down and the play begins. Director Michael Areden’s ensemble fills in the seats surrounding the platform. As the Prologue begins, you might find yourself struck by the sheer size of the ensemble. The stage is filled with people, and the sound of all of them coming together is gorgeous, but also certainly hits you. The beginning of the prologue features a young soldier saying goodbye to his girlfriend as he heads off to war. The two sit on the platform while the remaining ensemble simply watches from their seats. As you spend some time taking in this scene, you might also find yourself struck by the image of this couple being watched. The two share such an intimate moment, but they are far from alone. This is a directorial choice that continues throughout the production. No matter how intimate a moment may be shared on the platform, the surrounding seats are always filled with onlookers. At a certain point, you might even find that the line between audience on stage and those in the CIBC Theatre house begins to blur. 

Arden’s production feels like a success for a number of reasons. The cast as a whole is simply phenomenal. Jason Robert Brown’s music is stunning, including numbers that fans of the musical will recognize from “Real Big News” and “You Don’t Know this Man” to “Do It Alone” and “This is Not Over Yet.” The vocal talents alone were enough to earn the standing ovation surrounding me at the end of this particular performance.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE.

Alfred Uhry’s book is powerful and delicately handles a story based on actual truth. At the center is a newly-wed Jewish couple living in Georgia – Leo (Max Chernin) and Lucille (Talia Suskauer) Frank. When Leo is accused of murdering the young Mary Phagan (Olivia Goosman), the couple is forced into a journey full of the harshest obstacles that unfold over the course of years. As they move through the trial and the many attempts to re-open a highly skewed and biased case, the couple is forced to question their outlooks toward their faith and how justice plays a role in this world.

Chernin and Suskauer shine - particularly in how they bring life into this challenging relationship. The two are forced to come together very quickly for a couple that has only been married for a short time. Over the course of the musical, we witness a deep love form as the two learn to trust each other. The performers fill this story line with a grounded honesty with which it is impossible not to fall in love.

However, that which truly pushes this production over the top is Arden’s vision that directly connects the story to the historical context. Whenever a new character is introduced, Projections Designer Sven Ortel fills the screen at the back of the stage with the real-life image of that individual. Leo and Lucille Frank. Mary Phagan. Newt Lee. Governor Slaton. As more and more images fill the back of the stage, it becomes hard to forget that every major event that occurs in this story truly took place – from the death of a young girl, to the accusation of an innocent man, and to all of the hateful lies thrown his way simply because he was an “other.” The events of this story occurred in 1913, and the case has yet to be officially solved in the present day of 2025. You might find that witnessing the actual historical figures makes that truth a bit tougher to swallow. You might also find that as the story unfolds, that truth makes you increasingly more uncomfortable joining the onlookers in the seats on stage. Regardless of what Leo and Lucille may desire, we are always watching and always judging. Not only does Arden cleverly tie in the historical context, but he also connects the material into the present day.

A stunning score, talent-studded cast, and thought-provoking take make this production of Parade a must-see.

HIGHLY RECOMMENDED

Parade runs through August 17, 2025 at the CIBC Theatre. For tickets and information, see the Broadway in Chicago website.

*This review is also featured on https://www.theatreinchicago.com/!