Following a sold-out, extended run at The Public Theater, Suffs arrives on Broadway this spring — and not a moment too soon. From the singular mind of Shaina Taub, this “remarkable, epic new musical” (Variety), boldly explores the victories and failures of a struggle for equality that’s far from over.
It’s 1913 and the women’s movement is heating up in America, anchored by the suffragists — “Suffs,” as they call themselves — and their relentless pursuit of the right to vote. Reaching across and against generational, racial, and class divides, these brilliant, flawed women entertain and inspire us with the story of their hard-won victory in an ongoing fight. So much has changed since the passing of the Nineteenth Amendment over a century ago, and yet we’re reminded sometimes we need to look back, in order to march fearlessly into the future.
The Broadway production opens on April 18, 2024 at the Music Box Theatre following previews that began on March 26, 2024.
I hope this show can find the audience it deserves. It really has potential! Like I said before, it's not necessarily Hamilton 2.0 but it has a very important message with songs I can remember.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
I was bored at the Public but not on Broadway. The more I sit with it, the more I like it, and it is one of the better musicals of an incredibly weak year.
I was never once bored but I do think the pacing in the middle of Act 2 slowed a bit - but that was during the first week of previews. I have seen all the new musicals except heart of rock and roll and SUFFS by far was my favorite. I have been humming the opening and closing songs ever since the performance I saw and cannot wait for the cast recording. I hope their reviews are favorable.
David Gordon of Theatermania often tweets right after he sees shows, mostly just the positive reactions, and, if he's reviewing Suffs, it's going to be a rave.
★★★★★ Nikki M. James, Grace McLean, Jenn Colella, Emily Skinner, and an exceptional cast spark this new musical about the battle for equal voting rights in America, circa 1915
"in the end, “Suffs” does what all of the best Broadway musicals do: it humanizes and empowers, and it entertains and moves an audience.
Taub’s enormous talent — she is arguably the first woman to compose, write and star in the same Broadway musical — is the biggest single reason. She’s a fresh, relatively youthful musical voice and an assertive, empathetic and vulnerable star who, with the gentle help of director Leigh Silverman, brings just enough of contemporary womanhood into the story to take the musical out of the realm of class project or Wikipedia trot and more toward the center of why people pay big bucks for Broadway shows."
"By the end, it feels like a rally, complete with mottos and banners — which, depending on what you want from a musical, isn’t necessarily a criticism. Certainly it explains why the show has attracted the support of notable feminists like Malala Yousafzai and Hillary Clinton, who rightly see it as an opportunity to buoy the politically discouraged. “Progress is possible, not guaranteed,” sings Paul, in a pithy, Obama-esque formulation.
I’m on board for that. And there are some fine performances: Colella as Catt, Nikki M. James as Wells, Ally Bonino as the resourceful Lucy Burns, and the ever-enjoyable Emily Skinner blowing in as a moneybags. Silverman’s staging, except for the anemic protest scenes, is exemplary.
But considered narrowly as drama, “Suffs” feels insufficient. Its scenes often come off as educational skits — an effect accentuated, at times, by their resemblance to handsome dioramas, with the women lined up in silhouette. (The sets are by Riccardo Hernández; the sharply profiled costumes by Paul Tazewell.) And Taub, especially in writing her own role, has prioritized intelligence over expressiveness, making Paul seem not just driven but robotic. She frequently says canned things like “Governments derive their just powers from the consent of the governed,” a paraphrase of the Declaration of Independence."
"Suffs is enthralling, a smart, funny and beautifully sung musical that brings its chosen moment in history to life just as surely and confidently as Hamilton did for its. That the Suffs era is female-focused — and so less known, in its details, to the general public than the doings of the Founding Fathers — makes Shaina Taub’s creation all the more potent."
“Suffs” is already good, in both senses — a good show and good for the world. I even shed a few political tears. But to be great, a musical (like a great movement) must grab you by the throat. “Suffs” too often settles for holding up signs."
"That finale exemplifies how tricky women’s suffrage is to turn into a musical.
On one hand, the song sounds inspiring like any good Broadway send-off is supposed to. On the other, it leaves us walking out on a sad note: the more things change, the more they stay the same.
And mixed feelings are exactly what “Suffs” left me with. "
"When the Shaina Taub musical “Suffs” premiered at the Public Theatre two years ago, covid plagued the company and even led to the cancellation of opening night. But those weren’t really the problem. Rather, the show, about the American suffragists’ fight to win the right to vote for women, suffered from self-inflicted wounds: It was a didactic, dull, overstuffed mess.
That “Suffs” would come back, and on Broadway, too, wasn’t a thrilling prospect. And while it did not magically morph into a great show, Version 2.0 is tighter, more confident, often rousing and downright entertaining. We can only rejoice that the creative team, led by Taub, who wrote the book and score, and director Leigh Silverman, did not back down."
"The new musical, which opens tonight at the Music Box Theatre following a run at the Public downtown, is at its most invigorating when Taub hits on these collisions of the political and personal. But such moments are few and far between in this sprawling historical work, with book, music and lyrics by Taub, which traces the suffragist movement and the battle for a woman’s right to vote in the United States. The show is overburdened by too many characters and too much historical ground to cover, and Taub’s score often falls back on generic inspirational anthems instead of emotional specificity. "
Produced by Hillary Clinton, writer-composer-actor Shaina Taub’s Broadway show is a generally rousing if occasionally heavy-handed history of the fight for the 19th Amendment.
“Suffs” largely succeeds in showcasing the accomplishments of its creators and performers, particularly with regard to Ms. Taub’s rich and often rousing score and the terrific cast, all radiating vivid engagement in the history unfolding before us. Nevertheless, at times the musical comes across as a bright but exhaustingly busy historical pageant, with a dizzyingly broad cast of characters and manifold triumphs and setbacks—mostly the latter, in truth—to unfold.
"I found Shaina Taub’s musical inspiring, instructive and entertaining when I saw it two years ago Off Broadway.
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But much has changed in “Suffs,” almost all for the better: The show is more streamlined, more focused. At the same time, with the transfer to Broadway, my assessment has changed somewhat. “Suffs” on Broadway is likely to be sought out more for its inspiration and enlightenment than its entertainment."
DTLI Consensus: Though streamlined and much improved from the solid Off-Broadway incarnation, Suffs has still not yet marched its way to a great product.