PARADE On Broadway - Reviews & News Thread — Page 21

NotThatSmart said: "I am glad people are enjoying it! Jake Pedersen as Frankie Epps was such a standout to me."

He sang so beautifully! I thought the supporting cast was particularly strong here-- from Grayson, to Pedersen, to Kelli Barrett to Danielle Greaves. Top down perfect. I have my problems with the book (as a few critics pointed out, and as I immediately reacted at the time, the white supremacists open and close the show, and get sooo much time to sing/emote-- but the strongest moments are BY FAR the duets by the Franks, and that incredible number that opens Act 2 by Lyons and Carter).

But it seems everyone agrees that this production is a phenomenal production of a flawed piece. And it elevates the moments that deserve elevating--thats what theater is. Platt's recitation of that Jewish prayer has stuck with me since I saw it. Grayson's big number made me shiver. And Diamond Diamond Diamond. I hope it stays well sold through summer. Congrats to all.

I love all his work, and any chance I get to see one of his shows is always fulfilling and delivers. But JRB should get better at starting speeches with more conviction and less “um ah I’m new here” energy.

He should also get better at thanking the actual director, Michael Arden, among the laundry list of other names he was able to remember. “Wouldn’t be here if not for Hal”… sure, but Arden also pitched in some this time around. Poor guy was standing there looking like he’d rather be anywhere else at the end of JRB’s speech.

Updated On: 3/17/23 at 11:17 PM

Sauja said: "Has anyone sat on the far sides of the orchestra? I’ve noticed there are some much cheaper tickets, and I’m trying to weigh how awkward the view might be as I decide how much I can spend and where to spend it!"

We sat on the right side of the stage a few rows back and missed quite a bit on the right side. If we see it again, it will be from center seats or the mezz.

I find myself more and more hoping that Diamond wins the Tony as time goes on. I think the performance I’ve been most captivated with during the show itself this season was Ashford’s Lovett (which I maintain is an all-time career best for her—so, so good). But Diamond’s Lucille has stayed with me in a very deep and profound way. She’s really just so stunning and moving in the role.

I LOVE a super competitive year with so many amazing shows and performances that nobody knows what’ll happen until the envelope is opened.

Someone who is giving a completely different performance now is Paul Alexander Nolan. He’s evolved his character into something really special (and at times, INTENSE).

BCfitasafiddle said: "Jordan Catalano said: "Someone who is giving a completely different performance now is Paul Alexander Nolan. He’s evolved his character into something really special (and at times, INTENSE)."

Yup, yup, yup. He was the surprise standout to me as well."

Agreed! A wonderful performance. The one bad review called him a cartoon villain and I thought that was absurd.

^ Great article. The feeling of the good ol' boys "winning" is what makes the show so powerful (and upsetting) for me, and I appreciate this added angle.

binau said: "Another moment I thought was so brilliant...when Jake Pedersen is screaming during the funeral sequence on these lines:

"Let him quiver in his boots
Let him run until he bleeds
I won't rest until I know, he's burning in the raging fires of hell, forvever more"

Brilliant for these reasons:

1. The intensity of the reaction that was genuinely thrilling/shocking/scary - I was more scared at this moment than any moment in the current Sweeney revival. And I don't think it can really be overdone given the stakes and eventual outcome (i.e. murder)
2. Assuming I'm not overreaching - The added subtext to the scene from earlier after we have already seen that Frankie is obviously just a red blooded guy looking for a date - he isn't 'in love' with Mary at all (he just moves on immediately to find someone else after rejection). So what this means is what we start to see is how a group of people start to band together/form a bandwagon based on emotion and prejudice rather than reality. Were it not for this tiny book moment earlier we might have assumed Frankie is just in love with Mary and devastated at her death and THAT explains his reaction. But no, he is swept up into the emotion and groupthink. Chilling. And made perfect sense to see Frankie in the group of people with Frank around the tree at the end after this."



This, this, this. Couldn't say it better if I tried. Masterpiece of American theatre.

KevinKlawitter said: "Article by Yair Rosenberg - Parade is a musical about anti-Semitism in which the anti-Semites steal the show—and that’s precisely why it works.

He also makes an interesting point that can be related to people feeling Ben Platt's performance is a weaker point - his role is more passive and limited by design."

The Atlantic is the best. This is an interesting spin on this show, but i think a little too forgiving. Uhry couldn't help but relegate the most fascinating characters (Conley, Minnie) to a song or two, and even has the Franks play second fiddle to the American White People. I loved this production, and I think Platt and Diamond are elevating their Jewish characters to the forefront. But as written? Its a fundamental miss for me, the way they open and close the show with the White Supremacists and give each of them their own big song.

Jordan Catalano said: "I saw this again tonight and left again a mess. Doesn't matter how many times I see this show, that Sh'ma wrecks me like very few other things do.

The show has gotten so much tighter in the past few weeks which I find fascinating since it was perfect at that first preview.

That Tony belongs to Diamond, I don't think anything could change my mind on that."



Could not agree more. Micaela's stunning and nuanced performance stayed with me for days after when the other performances (Victoria and Annaleigh) while great in their own right, just didn't strike me on the same level.

binau said: "Another moment I thought was so brilliant...when Jake Pedersen is screaming during the funeral sequence on these lines:

"Let him quiver in his boots
Let him run until he bleeds
I won't rest until I know, he's burning in the raging fires of hell, forvever more"

Brilliant for these reasons:

1. The intensity of the reaction that was genuinely thrilling/shocking/scary - I was more scared at this moment than any moment in the current Sweeney revival. And I don't think it can really be overdone given the stakes and eventual outcome (i.e. murder)
2. Assuming I'm not overreaching - The added subtext to the scene from earlier after we have already seen that Frankie is obviously just a red blooded guy looking for a date - he isn't 'in love' with Mary at all (he just moves on immediately to find someone else after rejection). So what this means is what we start to see is how a group of people start to band together/form a bandwagon based on emotion and prejudice rather than reality. Were it not for this tiny book moment earlier we might have assumed Frankie is just in love with Mary and devastated at her death and THAT explains his reaction. But no, he is swept up into the emotion and groupthink. Chilling. And made perfect sense to see Frankie in the group of people with Frank around the tree at the end after this."



I haven't seen this production, but I always thought Frankie's affection for Mary was genuine, and more "older brother" than romantic. I know he immediately turns to Iola at the end of Picture Show, but that brief moment alone didn't really undermine the clear affinity he had for Mary to me. Is that moment (or others) handled in a way in this production that more clearly calls his specific affection for Mary into question?