Presented by Waterdale Players
Rivergum Theatre, Parade College
Reviewed on March 2, 2012
Waterdale Players have chosen the musical, Parade, in what can be described as a bold choice for their March 2012 production, Its book was written by Alfred Uhry, with music and lyrics composed by Jason Robert Brown (responsible for The Last Five Years, Thirteen, and Songs for a New World).
A potent exploration of the American underbelly, the show made its Broadway debut in December 1998. Addressing themes ranging from racial injustice and moral collapse, to covert political corruption, Parade is guaranteed to grip and invest audiences from the outset.
Directed by the legendary Harold Prince, it had a relatively short New York City run. The following year however, Parade won Tony Awards (for best book and best score), as well as six Drama Desk Awards. The show had a lengthy U.S. national tour, along with various professional and community productions staged both at home and overseas. (It should also be noted that this is the Victorian Amateur Premier of the Donmar Warehouse Revised Edition.)
Parade is based on a true story, the 1913 murder of Atlanta worker, Mary Phagan, and her factory manager, Leo Frank, a Jewish man wrongly accused of killing her. Frenzied public outrage at the time was such, that Frank was never allowed a fair trial.
Parade is also ground – breaking in that it allowed Broadway musicals to concentrate on darker themes, helping drive an unconventional dramatic narrative home. Without it, productions like Spring Awakening, Caroline or Change, or American Idiot, may never have seen the light or day, or at the very least been given more realistic bite.
Set within a two year time frame, the show gets its multi-faceted name from the Confederacy’s Memorial Day; that celebration bookends both ends of the story. Supported by a strong ensemble cast, Parade is filled with stellar lead performances. A uniformly focused energy is maintained for Parade’s two hour plus running time.
The quartet of Aimee Fraser (Director), Laura Perini (Assistant Director), Ian Nisbet (Musical Director) and Sophie Antoniou (Assistant Musical Director) have created a show with a tremendous attention to detail, both reflecting and reinforcing political and economic divide present in the early 20th century American South. There is flair reminiscent of E.L Doctorow’s Ragtime or Harper Lee’s To Kill A Mockingbird, magically brought to life.
Set design by Aimee Fraser and Laura Perini is stark yet effective. Focus is squarely on a four sided, two level scaffold platform. Rotated between scenes, it functions as the factory, the Frank home, the courthouse, and the city jail.
Props by Jake Remmington and Laura Perini highlight the period authenticity.
Seamless lighting designed by Yasmin Sesta builds emotional mood, from frenzied crowd scenes to quiet exchanges between two or three characters.
Elite society, factory workers, servants and prisoners, are represented by multiple costume changes. Created by Helen Ismail, her work reflects and reinforces the various social classes of the period.
Hair and make – up by Kathleen Amarant is both subtle and historically suggestive. She has tastefully met the challenge to depict racial differences without overstating it.
Placed back stage, a ten-piece band effortlessly handles the complex score. Conducted by Ian Nisbet, they create a smooth balance between the music and the performers front and centre.
Dale Krumins and Matt Goldsmith shared the sound engineering. Josh Mattielli was the radio mike technician.
Tyson Legg and Jaclyn DeVencentis play the pivotal roles of Leo and Lucille Frank. Words cannot convey the gut – wrenching, powerhouse brilliance with which they embody this outcast couple’s desperation. Songs demonstrating their disconnect with the Atlanta town’s people, but the gripping emotional chemistry they share with each other, include Come Up To My Office, You Don’t Know This Man, This Is Not Over Yet, and All The Wasted Time.
Djon Alexander channels Jim Conley, the former factory floor sweeper, now convicted petty felon. His amoral character revels in both the courtroom’s spotlight (singing a rousing That’s What He Said) and the glare of hard time (with Feel The Rain Fall). Highlighted by Emma Kiely’s smart and sharp choreography, Alexander works his performance to the absolute limit.
Mal Fawcett plays Governor, John Slaton, first with self – importance (particularly in his rendition of Pretty Music), then shocked concern following his interaction with Lucille Frank.
Meanwhile, the Governor’s fight for justice is undercut by Dave Barclay (as Judge Roan) and Dean Mitchemore (Hugh Dorsey, Slaton’s political rival). Their scheme is reinforced with the song, The Glory, as they plan Leo Frank’s fate.
James Terry gives drunkard reporter, Britt Craig a slimy fervor reminiscent of The Music Man’s Harold Hill, particularly in his solo, Real Big News.
Charles E. C. Grounds plays Frankie Epps, the young man smitten early and later destroyed by his involvement with Mary Phagan. Together, their duet, The Picture Show, highlights the innocence of young love blossoming, and further, his devastation singing, There Is A Fountain / It Don’t Make Sense.
Taylor Branecki has the enormous task of taking murder victim, Mary, from a playful teenager to haunted spirit. Her song, Frankie’s Testimony, highlights both Branecki’s range and ability.
As the maids, Angela (Katie Lewis) and Riley (Yasmin Ismail) , their Act II opening song with Tom Watson (Kristopher Brown), A Rumblin’ And A Rollin’ is a show-stopping highlight.
Brendan Hyde (as Luther Rosser), Kristopher Wardhana (as Newt Lee), Maxine Montgomery (as Mrs Phagan), Angharad Griffiths (as Lizzie Phagan), Emily-Rose Carr (as Minnie McKnight), Sarah Cuthbert (as Iola Stover), Tayla Podesta-Muir (as Essie), Hannah Bailey (as Monteen), Sarah Kiely (as Sally Slaton), and Josh Peterson (as the young Confederate Soldier) round out an outstanding cast.
Waterdale have created a show the MTC or The Production Company would be proud to call their own.
Yes, it is a story filled with adult themes designed to make one sit up and think. But, don’t be put off by the dramatic premise. This is an electrifying experience, well worth the journey. Don’t miss out.
Image Source: Stage Whispers