Parade in Boston

By Taylor Hayzlett

This past weekend, I had the privilege of seeing the national tour of Parade, a musical showing the dramatized but completely true trial of Leo Frank, a Jewish man who was accused and charged of the murder of Mary Phagan, a thirteen-year-old factory worker. I dragged my mom to the Emerson Colonial Theatre on Boylston Street to see the company’s second-to-last show in Boston before they headed to Charlotte, North Carolina to continue their tour.

I had been a fan of the music for many months prior to seeing the musical, so you can imagine my sadness when I learned of its inevitable closing on Broadway due to its limited run, and eventual joy when I learned of the tour that was being launched, and coming to a location near me. Being so close to Boston has its downsides sometimes, but I can’t help but love it when I’m able to see shows that are of Broadway quality, and only thirty minutes away.

The company included Max Chernin as Leo Frank (who actually was in the Tony-winning revival cast in 2023 alongside Ben Platt), Talia Suskauer as Lucille Frank (she recently ended her time playing Elphaba in Wicked on Broadway), Griffin Binnicker as Tom Watson, Ramone Nelson as Jim Conley, Jack Roden as Frankie Epps, Andrew Samonsky as Hugh Dorsey, Chris Shyer as Governor Slaton, Michael Tacconi as Britt Craig, Olivia Goosman as Mary Phagan, and many more. After the show, I had the opportunity to meet many of the cast members at the stage door and exchange conversations and praise. People always say, “never meet your heroes”, but I had a pretty good time.

The show starts with a triumphant performance by Trevor James as Young Soldier in “The Old Red Hills of Home,” who bids farewell to his love before joining to fight in support of the Confederate States during the Civil War. His powerful vocals paired with the haunting orchestra gave me chills before we are even introduced to our main character. The song seamlessly transitions into a post-Civil War Atlanta, where the Confederacy is still extremely prevalent in the city’s culture. The culture of hate is no stranger to Leo Frank, portrayed by Max Chernin, who delivers a solemn yet comedic flow in “How Can I Call This Home?” In my opinion, as an acclaimed critic, Chernin brought more depth to the very real and tragic life of Leo Frank than his former coworker Ben Platt, and equally impressive vocals. Also, I might add that he and my mom were able to connect over their Irish Ogham tattoos, my mom’s reading “Clan,” and his reading “Good Fortune.” Talia Suskauer conveys the desperation of Lucille brilliantly, and her solo songs “Do It Alone” and “You Don’t Know This Man” made it abundantly clear that she is a hot ticket to see in whatever show she’s heading. At the stage door, upon realizing that no one had a sharpie, she went back into the theater to grab one to sign our Playbills, showing her dedication to not only her craft, but also her fans. Other particular standouts in the cast were Jack Roden as Frankie Epps, whose boyish charm is quickly churned into bloodthirsty revenge backed by Roden’s evocative performance in “Funeral Sequence: There Is A Fountain Filled With Blood.” I got to mention that I liked his TikToks at the stage door, and he signed my Playbill. Another one is Ramone Nelson singing “That’s What He Said” as Jim Conley recalls a not-so truthful witness statement as Frank acts out his words, and in “Blues: Feel The Rain Fall” when Conley has moved to a chain gang for a year after being charged with accessory to murder. Nelson was not only incredible onstage, but was very kind at the stage door as well, asking my mom and I’s names. And finally, Andrew Samonsky was nothing short of remarkable as Hugh Dorsey in “Where Will You Stand When The Flood Comes?” as the sleazy prosecutor who got witnesses to lie on the stand.

To make a long review short, it is impossible to put into words the emotions I felt while seeing the show. The staging, production design, direction, and sheer talent of the performers and everyone involved were staggering, and it made me reevaluate my college application decisions, because I found myself regretting not applying to any schools for musical theatre. Being able to perform as a career is such a blessing, and I encourage anyone who has an inkling about theater to support local and professional productions because you never know what might become your new purpose.