Parade

The evening of Maundy Thursday was an appropriate time to see this show.  Its plot is based on a true story of an incident in the U.S. state of Georgia in 1913 whereby a young Jewish man is  accused and convicted of a crime of which he was innocent and subsequently put to death at the behest of a mob anxious for their form of justice. Not too far removed from the Easter story. Only this time there's no resurrection.   

Dan Poppitt gave a superb performance in the role of the unfortunate Leo Frank, in the wrong place at the wrong time.  A 13-year old employee at the factory where he is a supervisor is murdered and, rather than risk a race riot by placing the blame on a black man, they arrest the nearest Jewish chap.  This scenario provided ample opportunity for us to enjoy this experienced performer's excellent singing voice and his acting skills.  Following the locals' idea of a trial, a guilty verdict is delivered by various voices from all parts of the auditorium, followed by a death sentence to the accompaniment of a rather jazzy underscore. Apparently, it was Dan's idea to remain on stage throughout the interval which followed, a perfect illustration of the apparently interminable period, often several months, between sentencing and execution such as faced by all on death row.  

As Leo's wife, Lucille, Molly Whitehouse gave excellent support, an entirely credible performance as a wife, occasionally puzzled and frustrated by her husband's attitudes but nevertheless determined that he should see justice.  Her song "You don't know this man" was delivered with meaning as was the couple's tender duet       "All the wasted time" as she visits him in prison. Sadly, a lynch mob arrives soon afterwards.  Her perseverance had persuaded the Governor to commute the sentence from death to life imprisonment in a visit to Government House during a party. The majority of the production was staged on a number of wooden blocks on an otherwise minimalist set. At this point this central feature represented the convict's cell as we watched his efforts at passing the time in studies of the state's laws seeking to find a flaw in his trial process. Meanwhile, the party oes on all around wiith a lively song, "Pretty Music", mirroring reality as the lives of all but a handful of people continue oblivious to the fate of the convicted party.   

Mark Simmonds took on the role of the governor whose conscience ultimately brings his own downfall and    Jack Hooper gave a convincing performance as the District Attorney determined to win the case at all costs, even to the extent of a little fabrication of evidence.  Even in 1913, the press were on the lookout for a good story, one which might give a boost to a journalistic career and Richard Bayton impressed as the reporter      Britt Craig, his song "Real Big News" ideally suited to his voice.  Another strong performance came from     Jonny Holbek as Tom Watson, another newpaper man, albeit its editor this time and his song "Where will you stand when the flood comes" was another powerful moment in what is always a powerful musical.  The unfortunate victim, Mary Phagan, has by nature of the plot few opportunities to impress us but she is part of a charming duet with Frankie, "The Picture Show", as he tells her he is keen to take her to the cinema. Mary makes a few appearances later as the supposed meetings with Leo are acted out and Frankie, understandably, tries to ensure that her killer is brought to justice. Eloise Shneck and Oskar Nuttall gave good performances, as did Georgina Burt, Sophia Razak and Sarah Rudd as Mary's friends and work-mates. David Copley Martin tried to keep order as the judge whilst Jack James Fry as Luther Rosser had the unenviable task of trying to defend Leo as well as using his experience in ballroom dancing with part of the choreography. Charlie Clarke combined her task as assistant director/choreographer with the role of the victim's mother, including a song "My child will forgive me" as she gives evidence at the trial.              

There were memorable performances from Jocelyn Searles Duncan and Reggie Challenger in roles as African-American workers and servants.  They had a duet "A-rumblin' and a-rollin'" and the latter's blues-number "Feel the rain fall" was a highlight of the evening, his experience as a Bob Marley tribute act greatly in evidence. An 8-piece band including a string quartet, led by Matthew Peter Clare combining roles as M.D. and Director, provided excellent accompaniment.                  

Apart from its similarity to the Easter story and more than a hint of antisemitism, there are other points in the show with relevance to today's world: the funeral scene contains a poignant song, "It don't make sense", in which the teenage friends of the victim try to come to terms with their loss, something which, sadly, faces so many youngsters these days. The title of the show comes from the way in which it starts and ends with an annual Confederate Memorial Day parade with drums recalling those of the confederate army.  "Why would anybody want to celebrate losing a war?" asks Leo, as he prefers to go to work that day.  It's a question which might well be exercising the mind of King Charles as he is expected to go to Washington to mark the 250th anniversary of American independence.  

This company specialises in productions which give audiences something to think about and this certainly achieved that aim with another memorable theatrical experience.        

 

 

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