PARADE by Jason Robert Brown and Alfred Uhry, directed by Joel Greenberg, musical direction by Paul Sportelli (Acting Up Stage/Studio 180). At Berkeley Street Theatre Upstairs (26 Berkeley). Runs to January 22, Monday-Saturday 8 pm, matinee Saturday 2 pm. $32-$40, stu/srs discounts. 416-368-3110. See listing. Rating: NNN
There’s lots of fascinating historical material in Parade, the Jason Robert Brown and Alfred Uhry musical, set in 1913 Atlanta, in which Leo Frank (Michael Therriault), a Northern-born, Jewish factory manager, was charged with the murder of 13-year-old factory worker Mary Phagan (Jessica Greenberg).
Attacked by a prosecuting attorney (Mark McGrinder) who saw the trial as a political staircase to success, Frank had a devoted wife, Lucille (Tracy Michailidis), who convinced Georgia’s initially prejudiced governor (Jay Turvey) to give her husband’s case a second hearing.
Perjured witnesses, biased lawyers, a defendant who did little to endear himself to the public, racist attitudes (toward both blacks and Jews) – they’re all part of Uhry’s script. But since the issues are rarely developed, we’re left with a series of two-dimensional characters who don’t easily come to life or, more importantly, gain our sympathy.
Brown’s music is richer, a blend of anthems, hymns and popular period-style tunes, with an ironic echo of traditional songs such as Dixie and Camptown Races his lyrics are sometimes clever, too. Still, the songs don’t make as strong a dramatic point as they might in the hands of some performers, despite fine musical direction by Paul Sportelli.
Happily, several actors make a strong case for the material, filling out the sketchy parts of the writing and giving a thrilling life to the melodies.
The opening is especially vibrant, with a young soldier (Jeff Irving) nostalgically singing the patriotic Old Red Hills Of Home. We watch him transform into his older self (George Masswohl), still as dedicated to the Southern cause, decades after its defeat, as he was when he went off to war. A ringing choral finale ends the number.
Irving is first charming and then fearsome as Mary Phagan’s young suitor, and there’s strong work, too, by Mark Uhre as a bigoted, rabble-rousing minister Gabrielle Jones as Mary’s mother, whose mourning doesn’t totally cover her racism and a chorus of young factory workers (Jordy Rolfe, Sarite Harris and Paige Robson-Cramer) who help convict Leo.
The trial scene offers some of the production’s best musical numbers, as a succession of witnesses pile up evidence against Frank. It’s matched in theatricality with an electric blues number sung by Daren A. Herbert as Jim Conley, a black man whose trial testimony is the most damning. Musically backed by a chain-gang chorus, Conley demonstrates to the investigating governor that he’s as ruthless and conniving as any of the play’s white bigots.
Still, the standouts in director Joel Greenberg’s production are Therriault and Michailidis. Therriault’s not afraid to present an unlikable Leo who’s initially as prejudiced as his Southern neighbours, and prissy, snobby and aloof as well. His melting and revelation of Leo’s humanity give a depth to the second act, and Michailidis matches him mood for mood throughout as she moves from the distraught and ignored wife to loving partner.
Their duets in the musical’s second half – This Is Not Over Yet and All The Wasted Time – are luminous numbers that provide powerful dramatic moments. Too bad other parts of the show aren’t as memorable.
