I was skeptical when I got the assignment ““ a Tony-winning musical that only managed to run for 85 days in its debut Broadway incarnation. I was skeptical when I walked past the Hollywood hobnobbers on the plaza in front of the Mark Taper Forum ““ a complex and demanding play interpreted by a group that purports itself as “L.A.’s Theatre Company.” I was skeptical when I took my seat ““ another television actor trying to validate his career and prove that he can indeed do the theater.
But then the lights dimmed, the conductor struck up the orchestra, and “Parade” ““ the latest production in Center Theatre Group’s 42nd season ““ started marching along at a reliant, yet relentless pace. The prologue’s rousing tune, “The Old Red Hills of Home,” coupled with the actors’ antebellum dresses and Civil War garb created a down-to-earth, pro-Southern propaganda that is prominent (albeit ironically at times) throughout the play’s entirety. The score was so epic and the setting so endearingly provincial, even I almost felt motivated to join the ranks of General Lee’s army to protect “the hills of Marietta” just outside Atlanta’s borders.
“Parade” is more than just nostalgia for the South in an earlier time and a simpler way of life. It uses the true story of Jewish pencil factory superintendent, Leo Frank (played by ex-Grey’s Anatomy star, T.R. Knight), to illustrate an American South suffering from an identity crisis, political and media corruption, anti-Semitism and continued tension between blacks and whites.
“Parade” moves rapidly from scene to scene and from song to song, so I was never able to linger too long on any one moment from the piece. Its story focuses on Leo’s trial after being accused of raping and killing one of his own 13-year-old factory workers. The play’s fast pace encourages ambiguous interpretation of thematic elements and story line. For example, although it is clear that Leo’s trial was not fair, his innocence is never established beyond a shadow of a doubt.
Compelling story and thought-provoking themes aside, “Parade” is an entertaining, well acted, highly polished gem in the Los Angeles theater scene. The music varies from blue grass jigs to jazzy foxtrots and from Mississippi country blues to Yiddish folk tunes ““ each genre provides depth to the play while highlighting the orchestra’s versatility and talent.
Even though “Parade” is a musical in the traditional Broadway sense, highly choreographed dance routines seem sparse and pretty ancillary compared to the play’s singing and acting.
As leading character Leo Frank, T.R. Knight does not disappoint. His spot-on accent tags him as a Brooklyn Jew, a sharp contrast to the drawl of the Georgian supporting cast and even to his character’s wife, a Southern-born Jew (played by Lara Pulver, one of the show’s few standout ladies). Knight portrays his character’s alienation with robotic exactitude. Far into the second act, Knight’s movements turn bolder and his words are warmer and more sincere when he talks to his wife ““ demonstrating Knight’s ability to show growth and change within his character. Although he is not the cast’s best singer, he manages to tout some fine vocal chops in the show’s more sentimental songs, such as “It’s Hard to Speak My Heart” and “All the Wasted Time.”
Actor David St. Louis comes as a great surprise with his show-stealing solos in “That’s What He Said” and “Blues: Feel the Rain Fall.” His physical presence is already imposing on stage, but his guttural, bluesy singing style is what truly distinguishes him from his cast mates ““ his songs are the most expressive, most poignantly accented, and most entertaining.
The updated Los Angeles rendition of a 10-year old misunderstood classic is impeccable in all points. The cast is talented ““ they complement each other well ““ and T.R. Knight truly rises past his television persona to beautifully portray the persecuted Leo Frank. A skeptic no more, I’ve decided this is one hit “Parade” that no one can afford to miss.
““ Daniel Boden
E-mail Boden at dboden@media.ucla.edu.