I have some “real big news” for both fans of “pretty music” as well as those who prefer “a rumblin’ and a rollin’” in their seats. Haddonfield Plays and Players are putting on an outstanding production of the musical Parade. I experienced the pleasure of witnessing the show firsthand at the premiere on October 20, 2016. Director Pat De Fusco understood one person couldn’t “do it alone.” The cast and crew earned their share of “the glory” for this remarkable performance. Many times “it’s hard to speak my heart.” So I hope readers will forgive me for “all the wasted time” I spent on this “prelude.” I would point out that the substantive parts of this review are “not over yet”; and there’s a lot of substance to this one. So “what am I waiting for?”
Parade (book by Pulitzer Prize winning playwright Alfred Uhry and music and lyrics by James Robert Brown) told a disturbing tale for a musical. The action commenced on Confederate Memorial Day, April 26, 1913. With the backdrop of a parade commemorating this Georgia holiday, authorities discovered the body of a 13 year-old factory worker named Mary Phagan (Played by Alexa Reeves) in the basement of the building she worked. In order to advance his political career, Georgia Governor Slaton (played by Michael Doheny) pressured District Attorney Hugh Dorsey (played by Michael Lovell) to quickly convict someone of the crime. He opted to frame a Jewish migrant from Brooklyn, Leo Frank (played by Andrew Jarema).
Mr. Jarema’s role reminded me of a character from an Alfred Hitchcock movie. With his big spectacles, clean-cut looks and straight hair he looked the part of an average man drawn into a bizarre happening through forces beyond his control. He showed great range in his performance, as well. When police asked his character to identify Mary’s body he became squeamish and anxious. During an enactment of (false) court room testimony, Mr. Jarema did a superb job transforming from a timid man wrongly accused into a predatory lothario. I enjoyed his spirited performance in the later incarnation during the jazzy “Come Up to My Office” number. He also demonstrated tenderness singing the “This is Not Over Yet” ballad accompanied by Lucille Frank (played by Arielle Egan). I have to applaud this performer for transitioning his character into a courageous and even heroic figure by the end of the show.
Arielle Egan played an outstanding supportive wife in the role of Mrs. Frank. Mr. Jarema’s character didn’t make it easy for her. In spite of his taking his anger and frustration out on her, sometimes in rather shrill tones, she conveyed both her anxiety and devotion to him. I found her renditions of “You Don’t Know This Man” and “All the Wasted Time” very moving.
I also liked the way she adjusted her character’s personality throughout the show. While visiting her husband in prison she expressed a desire to leave town during his trial. Like her counterpart’s, her character became more audacious throughout the performance. Later in the show her character approached the governor at a private party and asked him to re-open her husband’s case. Her animation of Mrs. Frank made this change credible.
The best moment in the show occurred with Darryl Thomson, Jr.’s soulful performance on “Blues: Feel the Rain Fall.” With the chain gang serving as a chorus and the image of the scorching sun over the Georgia landscape in the background, he sang the blues in a way that would’ve made Robert Johnson jealous. I enjoyed the song so much it gave me the blues because it ended too soon.
I also appreciated Taylor Brody’s portrayal of cynical reporter Britt Craig. His dark suit along with the tie hanging loosely under his unbuttoned top button looked the part of a beat reporter in search of a scoop. So did his taking notes while attending Ms. Phagan’s funeral. The rendition of “Real Big News” really captured his character’s essence. Visuals of newspaper headlines projected against the background enhanced the atmosphere on this tune, as well.
I applaud Michael Arigot for his very emotional portrayal of Frankie Epps. He began by playing a carefree teenager courting Mary Phagan. Following her death he delivered heartbreaking singing during “The Funeral Sequence.” I found that portion of the show very poignant. Following that, he compellingly played a man consumed with rage and obsessed with the need for vengeance.
Parade featured a veritable high tech extravaganza. A projector flashed images on the rear wall during several crucial scenes. A pre-recorded soundtrack played in the background for the musical numbers. Several times the harmony played so loud it drowned out the singers’ voices. Towards the end of the show the music cut out several times. With a show this complex these things happen. None of the performers let the distractions affect their performances. They remained focused until the sound crew addressed the issues. That’s a credit to everyone’s professionalism.
I also want to credit Michael Lovell (as DA Hugh Dorsey) and William H. Young (as Riley) for the interrogation. If I may borrow a line from Hamilton, these gentlemen made me feel like I was “in the room where it happens.” The questioning occurred the same way I would’ve imagined a politically ambitious DA grilling an African-American witness in the Deep South during the early twentieth century. Mr. Lovell delivered threats with veiled hostility. Mr. Young prayed and trembled while listening. The proficiency of these two performers made this scene uncomfortably realistic.
My “verdict” on Haddonfield Plays and Players production is that this show was phenomenal. If someone tells you I made different comments regarding Parade, tell that person, “‘That’s what he said.’ ’You don’t know this man.’”
“Somethin’ ain’t right,” though. “It don’t make sense” that the show’s “finale” will take place just a few short weeks away on November 5th. The performance deserves a longer run. Where’s the “hammer of justice” here? Visit Haddonfield Plays and Players before Parade passes by. That’s my “closing statement.”