Whoa, Nellie! The Outlaw King of the Wild Middle West is a Heartbreaking Work of Staggering Genius Don’t Miss This World Premiere Musical at History Theatre.

The question I asked as I left the Theatre after seeing Whoa, Nellie! The Outlaw King of the Wild Middle West was not what did I like best or what were the shortcomings… It was this, was there anything about that show that wasn’t brilliant? The answer is a resounding no! It’s all brilliant. Every cast member, every song, every costume, every element of the set design, every lighting cue. Look at that photo at the top of this review, that isn’t just one moment, the entire show is filled with bold choices that create imagery and emotional imprints on the brain. This show solidifies Laura Leffler as one of the great Directors of the Twin Cities Stages. Her direction is dynamic, simultaneously intimate and epic.

(Pictured Em Adam Rosenberg Photo by Rick Spaulding)

Whoa, Nellie! The Outlaw King of the Wild Middle West is an original musical written completely, that means book, music, and lyrics by Josef Evans. I’ve seen Evan’s work before in his outdoor summer shows for Open eye Theatre, Loch Mess and Hair Ball both of which were light hearted, fun, and silly shows. I enjoyed them quite a bit, but they did not prepare me for these exquisite compositions. Even the silliest of songs seemed musically complex as is the narrative of Nellie King, whose story the show tells. The story unfolds as a vaudville show from beyond the grave. Nellie King, like so many real life legends of the late 1800’s, is obscured by mythology. What’s true? What’s fiction? So who better to help tell her story than a group of fellow long deceased legends. Some who helped create the myths like Nellie Bly and some who were mythologized like Annie Oakley. There are performers who were famous for impersonating the opposite sex, which touches on King’s tendency to dress as a man at times throughout her life. Everything is overseen by Bert Williams who acts as an emcee for the show, and if that makes you think of another musical, I don’t blame you for going there. It’s a role performed by John Jamison II and he’s magnetic to the point of stealing the show, and he would if the rest of the cast wasn’t as strong as it is.

(foreground) Em Adam Rosenberg. (background l-r) Erin Nicole Farsté, Jay Owen Eisenberg, Leslie Vincent, Therese Walth. Photo by Rick Spaulding

Em Adam Rosenberg continues their ascent as one of the most talented rising stars of the Twin Cities. Rosenberg keeps astonishing me show after show. They play the humor of Nellie’s wild and crazy antics with a slow and gradual slid towards the tragic. In the opening we see more of the legend, by the end we will see something of the truth. We begin by getting a sense of how the legend began and end with how the woman began. Every aspect of Rosenberg’s performance is as pitch perfect as their vocals which are stunning. As is Rosenberg’s apparent mission in life, they made me cry, again. This time their accomplice was Grace Hillmyer, who charmed us last year in Kinky Boots at Lyric Arts and here is hauntingly touching as the Child, a character shrouded in mystery that only Nellie occasionally sees.

This is where things get hard, as with the recent Theatre Pro Rata shows Three Sisters and No Sisters, every single person in this cast deserves a paragraph of praise. But, that would take me all night and you would stop reading so I’m going to be brief, but please understand I have to mention them all and the shortness of those mentions does not reflect the quality which is universally sublime. All of the cast with the exception of Rosenberg play multiple characters I’ll likely be mentioning just one of my favorites for each. Tod Petersen, Leslie Vincent, and Jay Owen Eisenberg have been praised in this blog many times, the reason for that is because they are versatile and gifted and they put those talents to great use in Whoa, Nellie!. Petersen’s greatest moments come at the end when he is reunited with Nellie twenty years after they first met. Vincent as Annie Oakley gets some fun insider jokes related to the show Annie Get Your Gun, and gets to put those wonderful pipes to work in the song “You Gotta Be Crazy (Not to Go Crazy)“. Eisenberg gets to do some wonderfully quirky character bits, he does this set jaw, and worried eyed expression as a man accused of steeling a horse that hit me just right, it’s such a small thing but it brought that character right to life. Erin Nicole Farsté plays Aida Walker and the music she makes with that vocal instrument of her’s might be proof that there is a God. Therese Walth plays Nellie Bly a reporter who fills in segments of the narrative with a no nonsense approach that pays tribute to the real Bly’s role in journalism history. Thomas Bevan rounds out the cast playing multiple roles but he’s especially good as Edward Loudon, one of Nellie’s multiple and likely simultaneous husbands and perhaps the one man Nellie actually loved.

Erin Nicole Farsté, Tod Petersen, Grace Hillmyer, John Jamison II, Leslie Vincent, Thomas Bevan Photo by Rick Spaulding

Alright I can feel you scanning down the screen to see how much longer this is so I’ll try and wrap up with quick mentions of the design team. Joel Sass designed the sets and I could have told you that without looking at the program. It has that Open Eye Theatre attention to detail, every brush stroke, every silhouette, every curtain, and every floorboard is precise and stunning. Sass has found a wonderful collaborator for his style in Lighting Designer Grant E. Merges, there are so many moments in which the light helps to create an image that feels iconic. Bryce Turgeon is the costume designer and creative doesn’t seem to do his work justice. So many wonderful designs but hands down my favorite was Nellie’s final costume which includes a cape made out of headlines from newspapers about her. The hats are all wonderful as well and while I didn’t notice them, because I just don’t, my wife assures me that every shoe and boot in the show was to die for. Great Sound Design work by C Andrew Mayer and Prop Designs by Rebecca Jo Malmstrom, and Choreography by Joey Miller, everyone working together creating a breathtaking experience on every level.

This is undoubtedly one of the best theatrical experiences of the year and you should not miss the opportunity to see something this bold and original. I promise you will not leave this show disappointed. I plan to see it again, which is hard with my schedule but there is no way I’m letting this one go without experiencing it at least one more time. Whoa, Nellie! The Outlaw King of the Wild Middle West runs through June 8th at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2024-2025/whoa-nellie-outlaw-king-wild-middle-west

Now more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, theater companies need you and we need them. Buy tickets to shows, go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our theaters whose funding is under attack for promoting inclusion, equality and diversity. In short, theaters are being threatened for sharing stories that reflect our countries cultural and racial diversity.

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Triassic Parq! Minneapolis Musical Theatre’s Regional Premiere at Lush in Minneapolis

Triassic Parq! is a great idea for an outrageous musical. Jurassic Park told from the point of view of the dinosaurs. If you remember the film, the line “life finds a way” refers to how the dinosaurs manage to procreate even though they are all genetically engineered to be female. The gene sequencing of the dino DNA was incomplete and the scientists filled in the gaps with frog DNA. Some frogs can change their gender if needed and thus one of the dinosaurs becomes male. There is an interesting theme there that could be a wonderful allegory for the Transgender community. But like most nuggets of potential in this show, with book and lyrics by Marshall Pailet, Bryce Norbitz, and Steve Wargo with music by Pailet, it never amounts to much of anything. It’s a show full of potential written by people without the wit or vision to capitalize on an idea brimming with possibilities.

The show doesn’t know what it wants to be and thus doesn’t commit to anything. Does it want to be a parody of Jurassic Park following the films plot but with a perspective change and comedy? Then it needs to be funnier. Does it want to be an LGBTQ+ anthem? Then it needs to embrace those aspects much more. Does it want to be a raunchy adults only show full of risque humor? Then it needs to go a lot further. Before seeing the show I enjoyed a lovely brunch in Lush’s bar area with some fellow Twin Cities Theater Bloggers and one said he’d be surprised if there wasn’t a joke about a Triceratops and Tricerabottoms, which is far better than anything in this script. As for the songs, in general they were much too loud and bombastic for my taste. There were a couple of songs that were alright, but again nothing that proclaimed itself as particularly clever or moving. This is not a reflection on the cast or the theater company, Minneapolis Musical Theatre, the issue is completely with the material, not the execution.

As for the execution let me first say that Minneapolis Musical Theatre whose motto is “Rare Musicals, Well Done” holds a special place in my heart. They produced one of the shows, Be More Chill, that led directly to me starting The Stages of MN. They produce the kinds of musicals that don’t get produced by other theaters and that’s a valuable thing, and I’ve seen a lot of really fun and interesting shows produced by them. When that is your mission, occasionally you are gonna hit on something that just doesn’t work. For the most part, I enjoyed the cast; they were doing everything they could with the material as was director Kjer Whiting. A couple of the performers were pushing outside their vocal range but others were really strong. The band led by Musical Director and Pianosaurus Amanda Weis were excellent, again unfortunate that they didn’t have something more memorable to perform. Unfortunately it’s hard to make a lump of coal sparkle no matter how much you try.

Perhaps my expectations were too high going into this as I saw all the possibilities and felt the end result squandered the majority of them. It isn’t without its charms mainly a cast and crew that give it their all. While I can’t recommend the show very highly, I know that some I was with found it more enjoyable than I did. But whether you decide to take in Triassic Parq! or not, I encourage you to make a donation to Minneapolis Musical Theatre, the work they do in bringing us rare musicals is important and needs to be supported. Triassic Parq! runs through April 13th at LUSH Lounge & Theater, 990 Central Avenue NE in Minneapolis. For more information and to purchase tickets go to https://www.aboutmmt.org/tickets/

Now more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, Theater companies need you and we need them. Buy tickets to shows go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our Theaters whose funding is under attack for promoting inclusion, equality and diversity.

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But that’s not all! You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time. Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

The Crucible From Night Fire Theatre is a Powerful Production That Broadcasts a Warning for Today

Looking around the sanctuary at the Living Spirit Methodist Church where Night Fire Theatre has mounted its production of Arthur Miller’s classic play The Crucible, I had one thought. This play is criminally under attended. Which puts me into full The Stages of MN action. This is why I started this, to share with people great shows they might not know were running. This is a great production, this is one you need to get to. I know what you are thinking, isn’t that a slow old timey play? No, it isn’t. It is a riveting production that, though written in the 50’s as an allegory for McCarthyism, feels frighteningly relevant today. How does a play written about events that occurred in the late 1600’s to shine a light on events in the 1950’s feel like it was written for today? Because as the play itself proclaims, “we are what we always were”. There will always be those among us that will use fear to stoke hatred in order to obscure their own faults. The Crucible tells the story of a group of young women led by Abigail Williams, whom it’s interesting to note that by the views of her society is guilty of sexual misdeeds, who prey upon the superstitions of a community whose critical thinking skills have been removed through religious indoctrination, at first to distract from the rules they broke and avoid punishment, and later as revenge against anyone that displeases them. Remind you of a certain President, convicted of sexual abuse and linked to child sex offender Jeffrey Epstein, who stokes fear among the religious right and Fox News cult to distract from his 34 felony convictions and other crimes against Immigrants, Transgender people, and anyone who disagrees with him?

Arthur Miller’s script stands on it’s own as a masterpiece of the American theater. It is perhaps the supreme example of the allegory as a technique to comment on society. Director Penelope Parsons-Lord has staged a compelling production against Scenic Designer Keven Lock’s simplified set constructed of wooden pallets. Parsons-Lord isn’t content to let the script speak for itself and present it straightforwardly on stage she takes advantage of the space having actors enter from every possible route, even using the balcony briefly. There are Directorial flourishes that help to create an emotional understanding of what is happening in the play. Such as the use of the Janis Joplin song “Piece of My Heart” in an early scene to convey to the audience that the young girls are simply being teenagers, dancing in the woods with their friends in a small display of private rebellion against their elders. Or the black ash that falls upon Salem in the final act, it has no explanation in reality, but it’s a striking visual to convey the sense that the soul of the city has been destroyed and what remains are the ashes of a once vibrant community.

There is nothing quite as thrilling as seeing great performances in an intimate space and this play gives us that. Derek Dirlam conveys an intensity and power as John Proctor, the everyman who must battle the irrationality of the court’s reasoning and blindness. Lizzie Esposito as Reverend Hale and Aaron Ruder as Deputy Governor Danforth are both fantastic at portraying their characters logic and beliefs whether accurate or misheld, their performances keep the tension mounting, giving glimmers of hope, and pangs of frustrated hope. Patti Gage as Reverend Parris seemed to be stumbling with her lines in the opening scenes, but soon overcame that and by the end her near hysterical performance was extremely effective at conveying her characters encroaching sense of doom and damnation. Isabelle Hopewell successfully gets us to despise her conniving and malignant Abigail Williams. Penelope Parsons-Lord along with directing and designing the costumes plays John Proctor’s wife Elizabeth broadcasting fear, intelligence, and finally a quiet air of nobility and bravery in the face of madness. Stephanie Kahle plays Mary Warren, The Proctors servant girl who is initially with Abigail but repents and tries to do the right thing. Her performance in the scene where she must face the Deputy Governor, Abigail and the other girls is heartbreaking. She vividly captures the emotional rollercoaster of fear battling conscience, her final act is made sympathetic by the emotional reality of her performance.

The Crucible is a must see show! Those who took in the recent production of The Messenger at Six Points Theater will find this to be a great companion piece. Night Fire Theatre’s production of The Crucible runs through April 12th at Living Spirit United Methodist Church in South Minneapolis. For more information and to purchase tickets go to https://www.nightfiretheatre.com/the-crucible

School Pictures Schools the Audience at Theater Latté Da in Northeast Minneapolis

Writer-performer Milo Cramer in School Pictures at Theater Latté Da. Photo credit: Dan Norman.

Milo Cramer’s solo show School Pictures Which just won a 2025 Obie Award makes its local premiere at Theater Latté Da. A low tech, low key, delightfully quirky and quick 75 minute show that makes you laugh and think. Cramer wrote the show about a five year period in his life when he tutored students in New York City. Cramer sings with a voice that won’t win him any singing contests. And yet, it’s his slightly high pitched kinda in and out of key quality that gets the audience on his side right from the start. It’s charming and relatable, as are his instrumentations which are simplistic. He’s telling us up front that he’s not a musical theater major who composes songs for full orchestras, he’s just like us, with an ability to carry a tune and learn a few cords on a ukulele. He’s just here to sing us a few silly little comedic songs about some teenage kids he tutored and their sometimes eye rolling attitudes and problems. He lulls you into a sense of comfort and humor and then, there is the big reveal!

As you can see in the photo accompanying this review there are sheets of colored paper with names on them on a bulletin board. Cramer goes through them sequentially, each is a seperate song/story about a student he taught. They are each unique and humorous as little episodes, but the cumulative effect is building to that big reveal. Which is where Cramer takes the audience to school asking us to do a few math problems and giving us facts about the inequity of the New York City school system. The conclusions are eye opening to the uninformed and audiences may find themselves grateful they don’t have kids in that school system. Well, ask an educator at an North Minneapolis Middle School I know of and you will hear stories that will make you furious at the Minneapolis School Board. After the stories I’ve heard from several educators I’m left with the conclusion that like the President they want the public education system to fail. When the students first went back after Covid, the school would repeatedly falsely report there were no covid cases when there were dozens of cases per grade. Guns in the school not being reported by the administration, teachers being told to lie about. Teachers being blamed for getting assaulted. Teachers without text books for students. I have a niece and nephew in South Minneapolis schools which are much better, and have more resources, but that could all easily go away very soon.

The education system in this country has been at a crisis point for a long time now. We need more resources directed at schools, so that we don’t lose dedicated teachers who go unsupported with no resources and no support. But the worst thing is that there is a large segment of a generation of kids that are not being given the opportunity to succeed. Why would anyone want that? Well, you might want that if you wanted a generation of people who didn’t have skills or knowledge to question things. People who haven’t been taught problem solving skills. People like that would be easy to control through fear and misinformation. And if you eliminate independent sources of information, you can control the message and the people. You can continue to keep the wealthy educated and rich, and you can keep the nonwhite and/or poor, in survival mode. These are the thoughts that Cramer’s show stirred up in my mind as I drove home from the show. So cute and funny? Yes, but also with a message of real value and substance.

School Pictures runs through March 2nd at Theater Latté Da. For more information and to purchase tickets go to https://www.latteda.org/school-pictures

The Ostentatious Outlaws of Neehai Valley or Why I Love Theater so Damn Much

Tonight, or I suppose technically it was last night, I attended a workshop and stage reading of a new musical in the works from Keith Hovis commissioned by Trademark Theater. I haven’t attended a lot of staged readings, my schedule is usually so full with shows to allow for it. I am so grateful I attended this one. I’m not going to review the show here, this is a work in progress, though to my mind it’s ready now to be fully mounted. But I do have to write something because it’s after midnight and I’m so excited by what I just saw that I’m not going to be able to sleep until I get something out of me. Hovis, who wrote the book, music, and lyrics has created something very special here. It’s the sort of show that’s hard to categorize because it’s more than one thing. First and foremost, it’s hysterically funny. Secondly, it’s a musical without a single dud or time filling song, every single one is memorable. But it’s also social commentary, representation, raunchy as hell, and moving. In short, it’s genius. But more important than what it is, is how it made me feel. I can only describe the feeling of being in the room when this display of creativity, humor , and humanity was happening as feeling fully alive. This is the feeling a theater junkie like me is always chasing. We feel lucky if we feel a quarter of this feeling, it’s so rare to have this strong of a reaction, and this was just a reading. Wow.

The Cast in Rehearsal: Photo courtesy of Trademark Theater
(L-R) Kiko Laureano, Armando Ronconi, Neal Beckman, Hope Nordquist, Em Adam Rosenberg

There are two downsides to an evening like this, I can rave all I want about it, but if you weren’t there, you missed it. I do this because I want to share experiences like this with you, faithful readers, and until they stage it I can’t. The second problem, and there are honestly only a handful of times this ever happens, this cast is so good, that any cast other than this will never be able to measure up. I can only think of two examples of other shows that have had that effect on me. The first was one of the shows that led to The Stages of MN’s creation, and that was Hedwig and the Angry Inch featuring Trademark Theater’s Founder and Artistic Director Tyler Michaels King as Hedwig and Jay Owen Eisenberg as Yitzhak. The other was a a musical called Interstate that opened at Mixed Blood in March 2020, only to be closed early due to the Covid pandemic. I saw both of those three times each, and wished I could have seen them more. I went back, bringing new people each time because I know that live theater exists as it’s happening. Once a shows run ends, it’s over. The next production will be something different. I’m so excited by what I just saw and I’m so sad that I cannot bring you with me to see it again tomorrow night or next weekend. I have no doubt that Trademark will mount this and I’d be very surprised if we didn’t see it in their 2025-2026 season. When it comes, I’ll remind you that this is a moment that you don’t want to let slip away. My greatest hope is that this cast returns as I’m going to have a very difficult time picturing anyone else in these roles. Everyone of them is perfectly cast, they brilliantly mine every line for maximum effect, it’s rare to hear an audience laugh out loud so much. It is almost non stop laughter, but there was one particularly moving moment. Towards the end, Em Adam Rosenberg sings a song that is so eloquent so moving and so beautifully sung, that they had not only me in tears, but also some of their fellow cast members. It’s a moment I wish I could have shared with my son George, it would have connected for him. I hope I get a chance to share that moment with him in the future.

Sweet Charity is Full of Dance, Song, and Laughs at Artistry in Bloomington

Shinah Hey and the cast of Sweet charity Photo by Dan Norman Photography

I was a Sweet Charity virgin in the purest most poetical sense of the word. I was in for several surprises not the least of which was that the 1966 musical was based on the screenplay for Fellini’s Nights of Cabiria. I likewise, wasn’t aware that the book for the musical was by Neil Simon. Any time I’m experiencing a musical for the first time I try and go in cold, to let it work on me the way it would have for audiences when it first came out. So it’s always a surprise when you recognize a song or two that you didn’t realize came from the show. That happened with two songs in this show “Big Spender” and “If My Friends Could See Me Now“, but it’s filled with other catchy tunes as well. As fun as the songs are, the real attraction of this production is the dancing. Choreographed by Abby Magalee the cast’s moves will entertain even those for whom dancing isn’t a draw. There’s nothing like seeing a dozen or so performers all moving in perfect synchronization, and who isn’t impressed by a perfectly executed kickline. There were a couple of ensemble members who’s dancing really stood out as flawless, Jaclyn McDonald and Aliya Grace. I’m not hugely knowledgeable about dance and tend to enjoy it most as part of a musical, but I think I could happily while away a couple of hours watching those two dance so exquisitely.

No slouch in the hoofing department either is the star of the show Shinah Hey who plays Charity Hope Valentine. Charity is a dance hall girl who is constantly taken advantage of by the men she falls for. After being pushed in the lake in Central Park by her boyfriend who also steals her purse, Charity is saved from drowning reluctantly by a member of the crowd of people who gathered to watch her drown. This is the first taste of the humor that pervades the show. Charity takes it all in stride and this is the cue for the audience to do so as well. If you don’t take that “shrug it off and keep on going” attitude to heart, you may find yourself severely out of sorts by the end of the show. Shinah Hey is perfectly cast with a relentlessly positive energy and optimism crucial to making the character believable. Other outstanding members of the cast include the always hilarious Brendan Nelson Finn who first came to our attention on the Artistry stage in The 25th Annual Putnam County Spelling Bee. He plays Oscar who Charity meets when they get stuck in an elevator together and will become her love interest. Finn is a master at milking every ounce of humor out of any scene, whether verbally, his exclamations of panic in the elevator, or non verbally, his reactions and dancing during the song “The Rhythm of Life“. You don’t want to take your eyes off him for fear you’ll miss something. Adan Varela plays a famous movie star named Vittorio Vidal, he and Charity have less of a love connection but she coaches him in her ever selfless way to a reconciliation with his girlfriend. Varela has a jaw dropping moment when he begins to sing “Too Many Tomorrows” and you get your first exposure to his voice on his own. I thought I’d died and gone to classic movie musical heaven his voice is so full, rich, and what the girls used to call dreamy. Another ensemble member that didn’t get a large stand alone role but played multiple small parts was Quinn Lorez, who after a nice turn as Joanne in Rent at Artistry, brings to this an ability to punch each of her small roles with something to make them memorable, which is a great way to differentiate the characters and become an audience favorite, just the perfect amount of attitude.

This production was Directed by Laura Leffler who masterfully stages the show on what has become Artistry’s go to production design lately. Which is to have the band up stage and have the minimal set pieces, mostly just a few chairs, a door frame, and a table or couch that can be brought on and off quickly. I suspect this has been done in several of their productions over the last year or so as a financial savings, which I understand completely. I’m happy to have them spend less on costumes and sets if it means they can continue to maintain such a full orchestra. Music Director Isabella Dawis and the Conductor Anita Ruth continue Artistry’s legacy of exemplary musical performances. Leffler doesn’t let the lack of set make the show less dynamic, she uses various sections behind the band to add locales and create striking visual moments. Lighting Designer Shannon Elliott also assists with some clever lighting cues including creating the square of the elevator with a box of light shone on the stage floor. I had a great time with this show, enjoyed the singing and dancing and experienced another comedic performance I’m not likely to ever forget.

Sweet Charity runs through February 16th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/sweetcharity

But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

Parade is a Powerful and Darkly Beautiful Musical That Shines a Light on This Country’s Great Sickness at the Orpheum Theatre

The National Touring Company of PARADE, photo by Joan Marcus

Parade which opened last night at the Orpheum Theatre for a five day run is not what I was originally expecting it to be. When the show was announced as part of the 2024-2025 Hennepin Arts Bank of America Broadway on Hennepin Theatre season, I had some notion it was one of the less popular musicals from the 1940’s and 50’s featuring Judy Garland in the film version. Turns out, I was thinking of Easter Parade, which was never a Broadway show, just a film. This is probably about as far away from that Jukebox musical as you can get. What this is however, is a powerful reflection on the hatred and abuses of power on which our country was, and is run. The ignorance and fear by which people are led to do horrible things all set to a beautiful score. I know this doesn’t sound like the show anyone has the stomach for right now, but to miss it would be a mistake. It is a tragic true crime story that ends not with justice, but tragedy. There is no inspirational fanfare at the end just the applause for artists telling a difficult story very, very well. If you are like me, it’ll make you angry, but that’s a good thing. This is where art can remind us, not to be numb to the injustices around us, but to be angry and to fight. When people tell lies to make others angry and trick them into actions that defy logic, when people in roles of authority don’t care about the truth but just feeding the fear of the masses, you should be angry.

Parade tells the story of the 1913 murder of of a 13 year old girl named Mary Phagan and the man Leo Frank, whom the authorities decided should be guilty. What always upsets me about stories like this is how the authorities do not care about justice for the 13 year old girl. They know they’re manufacturing evidence to get a conviction so that they don’t look bad in the press. They don’t care about catching the person that actually did it. We here stories like this over and over again, why? I’m afraid because it really happens like this, over and over and over again. The creators of Parade, the legendary Harold Prince who co-conceived it and the Author of the book Alfred Uhry and Composer and Lyricist Jason Robert Brown have brought power and beauty to this historical event. The show premiered in 1998 winning Tony Awards, then as well as in the revival in 2023 on which this touring production is based. Director Michael Arden has staged a darkly beautiful tableau making commentary on what is happening with things as subtle as who is singing or more pointedly who isn’t. While there isn’t a lot in the way of dancing, the co-choreographers Lauren Yalango-Grant and Christopher Cree Grant clearly were integral in designing the movements of the characters outside of what we think of as traditional dancing. There are moments when three young girls are testifying that has a dreamlike fluidity, a nightmarish beauty to it. The production is sprinkled with moments like that throughout. The set design by Dane Laffrey is simple yet effective and makes great use of Sven Ortel’s Projection designs, both of which you can get a taste of in the photo above.

The cast is very strong, the leads Max Chernin and Talia Suskauer as Leo and Lucille Frank are terrific together in their two second act duets “This is Not Over Yet” and “All the Wasted Time“. Their performances as they become closer near the end and Leo begins to see that Lucille brings so much to the table that he never saw before, makes the gut punch ending ever so much more bitter. Another fantastic performance comes from Ramone Nelson who plays Jim Conley, a black janitor at the pencil factory where Leo works and where Mary’s body was found. His song at the trial “That’s What He Said” is the most damning evidence which he has been blackmailed by the D.A. into giving. Nelson is so smooth and convincing that it lends believability to the testimony, it’s a stand out number. Another favorite in the cast was Chris Shyer as Governor Slaton, who pulls a switch on the audience and turns out to be a good guy. But don’t worry, before the show ends balance will be returned to the South when the crooked D.A. get elected as the new Governor of Georgia. Wouldn’t it be great if that last sentence was a joke instead of a reflection of reality? Finally Olivia Goosman needs a mention as Mary Phagan, she only gets two scenes before she is murdered, but Director Arden, ensures that her presence is felt throughout the remainder of the show, frequently placing her high and far upstage, her presence being seen at key moments through the projection screen, a reminder of another injustice, a poor little girl that the South let go unavenged.

Parade runs through January 26th at Hennepin Arts Orpheum Theatre in Downtown Minneapolis. For more information and to purchase tickets go to https://hennepinarts.org/events/parade-2025