'Parade' review: One of the greatest theatrical experiences of my life

Photo courtesy of The Croswell Opera House

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“Parade” is, without a doubt, one of the greatest theatrical experiences of my life.

And yet, hesitation lingers, not because there aren’t words to praise this production of “Parade,” but because of the sheer weight of what has been accomplished.

With a book by Alfred Uhry and music and lyrics by Jason Robert Brown, “Parade” is based on the harrowing true story of Leo Frank, a Jewish factory manager in Atlanta who, in 1913, was accused and ultimately convicted of murdering 13-year-old Mary Phagan. Despite contradictory evidence and mounting doubt, Frank was sentenced to death, later commuted to life in prison, before being kidnapped and lynched by a mob in 1915. More than a century later, the case remains a haunting portrait of systemic injustice, antisemitism, and mob violence, one whose echoes feel disturbingly relevant today.

As Frank, Matthew Porter delivers the performance of a lifetime, capturing both the character’s prickly reserve and his quiet dignity as the world turns against him. Opposite him, Kristin Kukic imbues Lucille Frank with unwavering resolve and emotional fire, her evolution from supportive spouse to determined advocate forming the shows moral core. Together, they anchor “Parade” with devastating humanity.

Director Michael Yuen guides the production with precision and urgency, ensuring the show’s historical weight never feels distant. Steven Kiss, Jared Hoffert, and Joshua Egnatuk embody real-life figures like prosecutor Hugh Dorsey, Governor John Slaton, and Tom Watson with unsettling conviction, reminding us how ambition and prejudice can corrupt truth. Even in smaller roles, AJ Landingham, Nate Adams as Leo’s defense attorney Luther Rosser, Jeffery King as Judge Roan, CaSaundra Taulton, Bradley Baker, Love Ruddell, and the ensemble contribute striking authenticity and texture.

The staging, of course, is enhanced by Tony Award nominee Tobin Ost, whose turntable set becomes a powerful visual metaphor for the story’s momentum and inescapable forces. Choreographer Sabriyah Davis and music director Todd Schreiber brings further vitality to the production, ensuring that movement and music not only complement the narrative but deepen its emotional resonance.

The score, one of Jason Robert Brown’s finest achievements, pulses with passion and unease, marches, anthems, and ballads that illuminate both the fervor of the crowd and the quiet resilience of the individual. In this production, numbers that humanize even the most unsympathetic characters, brought to vivid life by Nickolas Brown, Will DuPuis, and Riley Bollock, underscore “Parade’s” unsettling truth: that hatred is often ordinary, disguised in familiar faces and communal fervor.

What makes this staging extraordinary is not just its historical accuracy but its immediacy. Though set in the early 20th century, “Parade” feels chillingly modern, its themes cutting into the perils of today with startling clarity. The musical doesn’t simply recount a tragedy; it holds up a mirror to the present, asking whether we’ve truly learned from the past, or whether we are still trapped in the same cycle of fear and violence?

“Parade” is not just theatre, it is a reckoning, a work that demands to be seen, felt, and wrestled with. This production rises to that demand, offering a visceral, unflinching experience that lingers long after the final note.

Go see “Parade.” It will change you.

IF YOU GO:

The Croswell’s production of PARADE continues through Sunday, September 21st. Tickets can be purchased at here.