Parade

In one remarkable night of theatre last week we cried, were horrified, grew angry and outraged, had our hearts broken, marvelled and finally stood and cheered to toast the birth of a new theatre company – The Collective – and its remarkable gift to us all – Jason Robert Brown’s and Alfred Uhry’s sensational multi award (including Tonys for book and score) winning Parade. A critical success but a box office failure (one can imagine how Americans hated to see their bigotry “paraded” on stage), Parade is having its professional Australian debut here in Melbourne – and how blessed we are. Could musical theatre possibly get any better than this?

The true story of a quiet and dignified Jewish businessman, accused of an horrific crime he didn’t commit, and the travesty of a trial that follows, hardly seems the material for a musical…but then neither does Next to Normal or Spring Awakening. To be treated, as an audience, like thinking, caring, and compassionate human beings is a rarity. Yes it’s a harrowing show, but the rewards are enormous, the music is glorious and, in this case, the production and cast are so outstanding that you feel privileged to be allowed to participate in some small way.

The Collective has a mission statement that could form the manifesto for a National Musical Theatre Repertory ( fund them someone please!), but the decision NOT to use “major stars” (whatever that might mean) is not simply tokenism. The depth of talent on stage in this production is quite staggering, with every single cast member giving more than their all, and Cameron Thomas’s great scaled down orchestra more than doing justice to the lush score.

Luigi Lucente IS Leo Frank. His pain runs deep; his understanding, even resignation, of the hatred towards him for being a Jew is uncomfortable to watch, but oh so necessary. His intensity cuts like a knife and makes us cry. Quite simply he is superb and this is the best performance I have seen by an actor in a musical in many a year. Perhaps Lucente astounds us because the performance is so unexpected to most of the audience. Unless you saw him play the title role in Pippin for Magnormos, his monumental talent is usually buried in the ensemble – and that’s a tragedy. He creates magic through naturalism and complete truth in a performance that will stay with you for days, months, maybe years. His singing is beautiful, and the one chance he has to show his dancing chops in the licentious “Come Up to My Office?” (in which he is portrayed by witnesses as a letch) is a blissful bonus. Beyond that, Lucente shows us Leo’s journey from stitched up defensive Jew to a man of humanity and humility with deep love for his wife. Just breathtaking.

Laura Fitzpatrick (Lucille Frank) gives a perfectly balanced performance as the Southern belle who discovers her inner strength to save the man she loves. As always the voice is beautiful, but this time the book gives her scope to really develop the character’s journey, and she does so beautifully. Lucille and Leo’s duet “All The Wasted Time” is heartbreakingly simple and beautiful. I defy you not to cry.

Cameron Macdonald is assured and in great voice in a number of roles, all of them subtly different. He is a major talent and it’s great to see him again. Todd Strike brings his fabulous tenor to the fore and displays considerable acting ability as the corrupt prosecutor Dorsey, and Timothy Springs, a new name to me, possesses a “sit up and take notice” voice of rich quality and is perfect as the black janitor who lies his way through the trial. Amelia Christo has two contrasting roles as Mary’s mother and the Governor’s wife Miss Sally. She’s excellent in both and, with the audience being so close, particularly impressed with her whispered ad-libbed small talk at the Governor’s ball. Cle Morgan adds credibility to the small but pivotal role of the gullible housekeeper and the rest of the cast, Paul Dawber, Andrew Doyle, Emma Jones, Bonnie Page, Jemma Plunkett, David Price and Michelle Smitheram are excellent in a variety of roles. Alexandra Hiller’s set, mainly a huge “hanging tree”, stylistically epitomises the deep south and Nerissa Saville’s costuming is very impressive. Jason Bovaird’s lighting has never been better, creating atmosphere and becoming part of the story; what an artist he is.

James Cutler has done a magnificent job with his cast and has used what could have been the difficulties of the venue to advantage. With the audience in two banks facing each other, we feel like we’re watching a Parade, we believe we are in the courtroom, particularly with the barred windows on one side of the building. David Harford’s choreography is beautifully focussed….not too busy or frivolous.

The key word for this production is excellence and it deserves a sell out season. Please see it….if you’re interstate and can afford it, fly down just for the privilege of being there. There may be another professional production of Parade at some time….but I doubt there will ever be a better one.

Coral Drouyn

Photographer: Angus Scott