{"id":17275,"date":"2025-06-22T11:41:07","date_gmt":"2025-06-22T18:41:07","guid":{"rendered":"https:\/\/cahighways.org\/wordpress\/?p=17275"},"modified":"2025-06-22T11:42:53","modified_gmt":"2025-06-22T18:42:53","slug":"the-familiar-sound-of-pre-determined-railroaded-justice-parade-ctg-ahmanson","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=17275","title":{"rendered":"The Familiar Sound of Pre-Determined Railroaded Justice | “Parade” @ CTG\/Ahmanson"},"content":{"rendered":"

\"Parade\"\"Do you know where the modern KKK got its start? The answer is in the lynching of a Jewish businessman in Atlanta GA back in 1915. A little white girl had been murdered in his factory, and the prosecution felt that bringing a black man to justice wouldn’t satisfy the community. So they set their targets on a Jewish businessman from the North — a Yankee industrialist with an engineering degree from Cornell — who came to the South bringing industry and changing their rural and agrarian way of life. This incident is what also led to the creation of the ADL — the Anti-Defamation League<\/a> — and was one of many incidents that exposed the antisemitic undercurrent existing in much of America.<\/p>\n

The story of this lynching is timely today, as antisemitism and hatred of “the other” is growing in America. Antisemitism, which is getting all mixed up with anti-Zionism and hatred of Israel, is exploding these days (and isn’t helped by the situation in Israel today)<\/p>\n

<ASIDE><\/code> <\/em>It is important to understand the subtle distinctions here. Antisemitism<\/em> (one word, no dashes) is the hatred of Jews because of their religion. Anti-ZIonism, seemingly, is the hatred of anything Zionist, although that term is ill-defined as the original notions of Zionism from folks like Theodor Hertz over 100 years ago — the desire of a homeland for Jews — has morphed into a hatred of anything the government of Israel does. It has then morphed into a hatred of anyone who supports Israel, failing to separate the notion of support for the Israeli state as a homeland for Jewish from the notion of support for the behavior of the current Israeli government. It is important to note that many Jews, while supporting and strongly defending Israel’s right to exist (something many Arab nations refuse to recognize), completely disagree with the actions of the Netanyahu government towards Gaza. Protesting the behavior of the Israeli government in Gaza\u00a0is not<\/em><\/span> antisemitic; taking action against Jews because they support Israel’s right to exist is, because the desire for a Jewish homeland is part of the religion. “Death to Israel” is antisemitic; “Israel out of Gaza” is not. <\/ASIDE><\/code><\/p>\n

Additionally, we are seeing the railroading of people through false accusations, through behavior and looks such as tattoos. These items are treated as factual proof without investigations, and used to deprive people of their liberty, and in some cases, their lives. The behaviors we saw in the case in 1913-1915 aren’t far from the behaviors we are seeing today, and it serves as a timely lesson we must remember.<\/p>\n

Luckily, back in the 1990s, author Alfred Uhry<\/a> identified this story as one that might be good for the stage. Producer Harold Prince<\/a> convince him it would be good as a musical, and after being rejected by Stephen Sondheim, Uhry started to work with composer Jason Robert Brown<\/a>. The result, which hit Broadway in 1997, was the musical\u00a0Parade<\/em>, which tells the story of Leo Frank: starting with the murder of Mary Phagan and the eventual lynching of Frank. It is a dark musical with dark themes. Even though I’m well familiar with the material of this musical (having seen it twice before, the Donmar production at the Taper in 2009<\/a>, and the Neighborhood Playhouse production in 2008<\/a>), I still started to tear up as Leo started the Shema at the end. Be prepared.<\/p>\n

Parade tells the story of\u00a0Leo Frank<\/a>, a Brooklyn-born Jew who moved to Atlanta Georgia in 1913 to marry Lucille Selig and to be supervisor of the National Pencil Company. Leo was like many people today: bright, focused on his work, uncomfortable around other people and trusting only in himself, and just preferring to be left alone with his habits. The play opens on Confederate Memorial Day, and everyone but Leo is celebrating (Leo is asking himself why there is such a celebration for a war that was lost). Leo goes to work to work on his books. A 13 year old white girl stops by his office to collect her pay. Leo doesn\u2019t recognize her, but upon getting her employee number, pays her for the week: $1.20. Later that day, she is found crumpled in the factory basement, dead. Leo and Newt Lee, the night watchman, are brought in as suspects. The governor tells the DA they must have a swift verdict in this case. Not being able to find any evidence for the night watchman, and thinking the hanging of a black man wins few points in George, the DA lets Newt go. That leaves him with the man who must be the culprit: Leo Frank. The DA builds a case of coached stories to convince the jury, including the testimony of Jim Conley, a janitor at the factory who was an escaped convict with violent tendencies. He presents this case, and Leo\u2019s lawyer doesn\u2019t refute it: he just surprises Leo by having him make a statement, and then resting his case. Leo is found Guilty, and sentenced to death That\u2019s the end of Act I. In Act II, the focus moves from Leo to his wife Lucille, who is surprising Leo with her strength and tenacity in defending his innocence. Lucille convinces the governor to commute Leo\u2019s sentence; he does, although it is only to a life sentence. Leo is moved to an undisclosed prison, and Leo and Lucille\u2019s love story grows. However some people in Atlanta are incensed about this \u201cJew\u201d getting off, and the mob goes to the prison, drags Leo out, and hangs him. They then go off to celebrate Confederate Memorial Day.<\/p>\n

The particular production at the Ahmanson is the tour of the recent Broadway revival. They have some interesting staging techniques. The stage is set up as a raised platform, with judicial bench seating on either side. The main action takes place on the platform, with projections behind to establish place (although some action takes place in front of the platform). The projection establish place through images; there are also projections with the names and faces of the real-life people, as well as dates and times. This was very effective — it grounded the story in reality, making clear that this is something that really happened, and not historical fiction.<\/p>\n

The performances were extremely strong, especially Max Chernin as Leo Frank, and Talia Suskauer as Lucille Frank. Also notable was Olivia Goosman’s Mary Phagan, who established her as a lovable, flirty, flighty young girl. As a whole, the ensemble was extremely strong.<\/p>\n

At our performance, there was a talkback with Steve Oney<\/a>, author of a 2003 book titled “And the Dead Shall Rise: The Murder of Mary Phagan and the Lynching of Leo Frank<\/em><\/a>“, and two of the actors in the show: Evan Harrington and Brian Vaughn. The actors noted how audience behavior in this show is different than many: In other shows, they will be checking their phones and being distracted; with this show, the audience is drawn in and raptly following the story. Oney noted how this was a pivotal time of change in the South: The rural economy was disappearing, and being replaced by an industrial economy from the North, with concurrent job losses. He noted the parallels to today, where the industrial economy of the US is being replaced by the technology economy, often with job losses to offshore. Similar resentments exist in previously-industrial and agrarian areas today as existed in 1913, and there is equivalent hatred of the current “other”. He noted how we have similar injustices today: the guilty often get away with it, while the innocents often pay the price for things they didn’t do. The talkback only emphasized the timeliness of this musical. Alas, I was unable to ask the question I wanted: Whether there is a different in reaction of the audience depending on the city?<\/p>\n

This is a very strong production of an extremely moving show. Everyone should go and see it, because the lesson of the Leo Frank lynching and the travesty of justice continues to echo today (indeed, the case of Leo Frank, as of April 2025, was still under review by Fulton County DA Fani Williams<\/a>, and as the article notes, there are still those who believe Frank’s guilt). Consider that it wasn’t until April 2025 that the musical\u00a0Parade\u00a0<\/em>was performed in the city in which it takes place: Atlanta GA. The subject is timely, the performances are excellent, and it does what theatre should do: Make you think.<\/p>\n

Parade<\/em> continues at the Ahmanson through July 12. Tickets are available through the CTG\/Ahmanson website<\/a>. Go see it.<\/p>\n

Credits<\/h4>\n

Parade<\/em>. Book by\u00a0Alfred Uhry<\/strong>. Music and lyrics by\u00a0Jason Robert Brown<\/strong>. Co-conceived by\u00a0Harold Prince<\/strong>. Directed by\u00a0Michael Arden<\/strong>. Choreography by\u00a0Lauren Yalango-Grant<\/strong> and\u00a0Christopher Cree Grant<\/strong>. Incorporates reworking from\u00a0Rob Ashford<\/strong> and the 2007 Donmar Warehouse production.<\/p>\n

Cast<\/span>: [underscores<\/span> indicate “at our performance”; strikeouts<\/del> indicate “not at our performance”]: Max Chernin\u00a0Leo Frank<\/em><\/span>; Talia Suskauer\u00a0Lucille Frank<\/em><\/span>; Griffin Binnicker\u00a0Tom Watson<\/em><\/span>; Evan Harrington\u00a0Old Soldier \/ Judge Roan<\/em><\/span>; Ramone Nelson\u00a0Jim Conley<\/em><\/span>; Jack Roden<\/del> Trevor James<\/span>\u00a0Frankie Epps<\/em><\/span>; Andrew Samonsky\u00a0Hugh Dorsey<\/em><\/span>; Chris Shyer\u00a0Governor Slaton<\/em><\/span>; Michael Tacconi\u00a0Britt Craig<\/em><\/span>; Alison Ewing\u00a0Sally Slaton<\/em><\/span>; Olivia Goosman\u00a0Mary Phagan<\/em><\/span>; Danielle Lee Greaves\u00a0Minnie McKnight<\/em><\/span>; Jenny Hickman\u00a0Mrs. Phagan<\/em><\/span>; Robert Knight<\/del> Jerquintez A. Gipson<\/span>\u00a0Newt Lee<\/em><\/span>; Prentiss E. Mouton\u00a0Riley<\/em><\/span>; Oluchi Nwaokorie\u00a0Angela<\/em><\/span>; Ben Cherington Officer Ivey, Thomas Blackstock & others<\/em><\/span>; Emily Rose DeMartino Essie & others<\/em><\/span>; Bailee Endebrock Monteen & others<\/em><\/span>; Caroline Fairweather Nurse, Daisy Hopkins & others<\/em><\/span>; Trevor James<\/del> Jake Ziman<\/span> Young Soldier & others<\/em><\/span>; Sophia Manicone Iola Stover<\/em><\/span>; Trista Moldovan<\/del> Jodi Snyder<\/span> Nina Formby & others<\/em><\/span>; Ethan Riordan Mr. Turner & others<\/em><\/span>; Jason Simon Det. Starnes, James Gantt,\u00a0 & others<\/em><\/span>; Brian Vaughn Luther Rosser \/ Mr. Peavy<\/em><\/span>.\u00a0 Swings (\u2191 indicates “swung up into our performance”): William Bishop; \u2191 Jerquintez A. Gipson;<\/em>\u00a0 Brianna Javis; Benjamin Magnuson; \u2191 Jodi Snyder; Eden Witvoet; \u2191 Jake Ziman.<\/p>\n

Music Department<\/span>: Charlie Alterman\u00a0Music Direction & Conductor<\/em><\/span>; Daniel Felsenfeld\u00a0Orchestrations<\/em><\/span>; Tom Murray\u00a0Music Supervisor<\/em><\/span>; Kimberlee Wertz\u00a0Music Coordinator<\/em><\/span>; John Plane\u00a0Music Preparation<\/em><\/span>; Austin Davy\u00a0Assoc. Conductor \/ Keyboard 2<\/em><\/span>; Thomas Michaels\u00a0Keyboard 1<\/em><\/span>; Anthony Scandora\u00a0Drums \/ Percussion<\/em><\/span>;\u00a0 Mark O’Kain\u00a0Percussion<\/em><\/span>; Jen Choi Fischer Violin 1<\/em><\/span>; Adrianne Pope Violin 2<\/em><\/span>; Linnea Powell Viola<\/em><\/span>; David Mergen Cello<\/em><\/span>; Kaveh Rastegar Bass<\/em><\/span>; Tom Griep Keyboard 2 Sub<\/em><\/span>; Dan Fornero Center Theatre Group Music Contractor<\/em><\/span>; BIlly Jay Stein\u00a0 and Hiro Iida for Strange Cranium Electronic Music Design<\/em><\/span>.<\/p>\n

Creatives and Production<\/span>: Dane Laffrey\u00a0Scenic Design<\/em><\/span>; Susan Hilferty & Mark Koss\u00a0Costume Design<\/em><\/span>; Heather Gilbert\u00a0Lighting Design<\/em><\/span>; Jon Weston\u00a0Sound Design<\/em><\/span>; Sven Ortel\u00a0Projection Design<\/em><\/span>; Tom Watson\u00a0Hair, Wig, & Makeup Design<\/em><\/span>; Emilio Ramos\u00a0Assoc. Director<\/em><\/span>; Justin Scribner\u00a0Production Supervision<\/em><\/span>; Veronica Aglow\u00a0Production Stage Manager<\/em><\/span>; T. J. Kearney\u00a0Stage Manager<\/em><\/span>; Egypt Dixon\u00a0Asst. Stage Manager<\/em><\/span>; Caroline Fairweather\u00a0Dance Captain<\/em><\/span>; Stacy Myers Company Manager<\/em><\/span>; The Telsey Office Casting<\/em><\/span>; Juniper Street Productions Production Management<\/em><\/span>; Ray Wetmore & JR Goodman Props Supervisor<\/em><\/span>; Marathon Digital Social Media<\/em><\/span>; Ann C. James Sensitivity Specialist<\/em><\/span>.<\/p>\n

Support Your Local Theatres<\/strong><\/h4>\n

One last note: Under the 47 administration, arts are in peril. We\u2019re seeing cuts to the Corporation for Public Broadcasting and the National Endowment for the Arts. Many theatres are seeing NEA grants pulled, putting at risk productions already budgeted and started, and also putting at risk future seasons and potentially the existence of companies. Pleading emails have gone out to supporters, for without government support is it up to us, the audience, to support the theatres. And before you say government shouldn\u2019t be involved, remember that Queen Elizabeth was a patron of William Shakespeare, and enabled his art to be produced. The Theatre Communications Group had a nice article on this titled \u201cUnkindest Cuts: How Theatres Are Managing the Loss of NEA Funds<\/em><\/a>\u201c, in which they note the importance of supporting your local theatres, writing your congress critters, and making donations. They also stress the importance of spreading the word when you attend local arts productions. They write<\/p>\n

If you can\u2019t donate yourself, encourage others to do so. Post about a theatre company on social media. Encourage businesses to back theatre. Local businesses have recently been turning away from the arts, but if they know how important the arts are to their community, they might change course. It\u2019s good business. I plan to go to Columbus in the fall, and I\u2019m totally going to see if The Kitchen has a public event during that time.<\/p>\n

[\u2026]<\/p>\n

Every little thing is a step in the right direction. Some terminated Institute for Museum and Library Services were already reinstated. That is because of some type of pressure.<\/p>\n

Theatre will always happen, with or without federal money. But we\u2019ve already seen tremendous downsizing in recent years, as a substantial number of theatres have shuttered since the pandemic. In just the last week, two theatres in major cities have announced \u201cdo or die\u201d campaigns, and everywhere companies are doing fewer shows\u2014and that hurts the creative landscape. Each blow stings. Just because one show or program can continue without a specific NEA grant doesn\u2019t mean that funding isn\u2019t necessary. We all need to work together to make sure theatre remains plentiful and accessible. Funding is needed.<\/p><\/blockquote>\n

Consider this message my part. Donate to your local theatres. Buy tickets. Attend shows. Spread the word about the fact you attend live theatre on all of your social media. Demonstrate that attending live performance is not a Democratic or a Republican thing. It is something that we as human beings need to nourish our souls, and that theatre artists must be free to express themselves, even if it puts itching powders in the clothing of the leadership. Theatre has long served as a commentary on society, whether it be\u00a0Showboat\u00a0<\/em>in the 1920s,\u00a0South Pacific\u00a0<\/em>in the 1960s,\u00a0Chicago\u00a0<\/em>in the 1970s,\u00a0Hairspray\u00a0<\/em>in the 2000s, or\u00a0Hamilton\u00a0<\/em>in the 2010s.\u00a0 Mr. President, theatre is much more than\u00a0Cats<\/em>.<\/p>\n

Administrivia<\/strong><\/h4>\n

I am not a professional critic. I\u2019m a cybersecurity professional, a roadgeek who does\u00a0a highway site<\/a>\u00a0and\u00a0a podcast<\/a>\u00a0about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at:\u00a0Center Theatre Group<\/a>\/Ahmanson Theatre<\/a>;\u00a0Broadway in Hollywood\/Pantages Theatre<\/a>;\u00a0Pasadena Playhouse<\/a>;\u00a0The Soraya<\/a>, and\u00a05-Star Theatricals<\/a>. We\u2019re looking for the right intimate theatre to subscribe at \u2014 it hasn\u2019t been the same since\u00a0Rep East died<\/a>\u00a0(it\u2019s now\u00a0The Main<\/a>, and although it does a lot of theatre, it doesn\u2019t have seasons or a resident company), and post-COVID, most 99-seaters aren\u2019t back to doing seasons (or seasons we like). I used to do more detailed writeups;\u00a0here\u2019s my current approach<\/a>.<\/p>\n

Upcoming \u2666 Theatre \/ \u2663 Music \/ \u25ca Other Live Performance \u2013 Next 90ish<\/em>\u00a0Days (\u2295 indicates ticketing is pending).<\/p>\n