SUFFS Previews

The young are at the gates.

Suffs marches on to Broadway, beginning previews tomorrow night (March 26) at the Music Box Theatre, before an April 18 official opening. The timely new musical — which played to sold-out houses at Off-Broadway’s Public Theater in the spring of 2022 — is written by Shaina Taub, choreographed by Mayte Natalio, and directed by Leigh Silverman. Taub also leads the onstage company as Alice Paul; the ensemble piece also features Nikki M. James, Jenn Colella, Grace McLean, Hannah Cruz, Kim Blanck, Anastacia McCleskey, Ally Bonino, Tsilala Brock, Nadia Dandashi, Emily Skinner, Jaygee Macapugay, and Laila Drew.

“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.”

Who’s joining the march?

ErmengardeStopSniveling said: "Snooping around on PlaybillVault and it looks like SUFFS will have a 12-piece orchestra onBroadwayfor its new orchestrationby Tony winner Michael Starobin. I don't remember what it had at the Public, but that production had a different orchestrator.

• 2 keys
• 2 reeds
• 2 trumpets
• trombone/euphonium
• drums
• guitars/banjo
• bass
• violin
• cello

Additionally, Raja Feather Kelly gets the unique credit of "Development Consultant and Original Choreographer." (He was involved with the Public production but the showhas a new choreographer now, along with its new design team and orchestrator.)"

Looks like the Public run had an 11 piece band

• Keyboard
• Guitar
• Drum
• Bass
• 2 Violin
• Viola
• Cello
• Flute
• Reed
• Trumpet

I wasn’t there, but from the curtain call photos that are all over their instagram, this is evidently a very different show to what played at the Public! Praise be, no more dark stairs. I’m going next weekend and greatly looking forward to it.

The show's Insta story reveals it ends with a nearly-empty stage:

quizking101 said: "Dylan Smith4 said: "Was anyone at the invited dress rehearsal tonight? If so, how was the show?"

I was there tonight and, full disclosure, this was my first exposure to the show. I also feel weird about commenting on a dress rehearsal so I’m mostly just going to stick to the written material.

It’s good, but didn’t knock my socks off. The problem is that it cannot focus itself long enough for me to be truly invested in anyone but Alice Paul and, to a lesser extent, Carrie Chapman Catt. I get that the Suffs were a very large and diverse group of women, but the book suffers from too many perspectives and, after a while, feels heavy handed and reminded me of when I was getting my Gender Studies & Queer Theory minor in college.

I think the black suffragists really deserve their own show since they have a truly interesting storyline that gets the short shrift and is used to as a device to sober the audience every time the Suffs have a victory. (“Be happy, but not too happy since the victory wasn’t for everyone&rdquo

The music was tuneful and varied in style, but tended to be more ballad heavy. It feels almost completely sung through, and quite a few songs can be cut to move the story along.

Ultimately the end result feelsHamilton-esque and will likely draw comparisons to that, and sprinkles heavy vibes from the recent 1776 (which…we all know how that went)."

How did this regress? We VERY much agree that it felt heavy handed and high school educational theater. We both found it better at The Public, including the set. We missed Soo, the standout of the evening. If it was too dark, paint the stairs? Feels like the director, who should've been replaced, was searching for a way to make it "better" and chose the wrong choices to do so . She, and her choices, may be the biggest problem.

This still feels like an ensemble show with Alice being the lead, even if boring and continually vocally nasal. We weren't sure how anyone was nominated at the Public besides Soo - as it felt the ensemble was of equal value across the board. The previous 'award' nominations seemed tactical and out of fear.

So far, it may get nominated because it's not a movie and is political bait (with Clinton hocked as a producer), but it does not even meet the baseline of other musicals this season, even the adapted films. We had high hopes but this seems to have weakened from The Public. The potential seems to have worn off. This was disappointing unfortunately.

Updated On: 3/26/24 at 11:17 PM

jkcohen626 said: "Ok, this show is winning merch! So much stuff and it looks great!

https://www.broadwaymerchandiseshop.com/collections/suffs"

Eh....

Likewise. What worked at The Public is now gone. What a bore. I don't have anything more to say. At least the awful Lempicka had some cool visuals and amazing orchestrations and Amber Iman. Suffs is a wikepedia snooze fest.

Well lets hope they sort things out during previews.

I remember loving the score at the Public so I’m excited to hear it again and see how the show has changed.

I don't see the Broadway iteration for a few weeks, but I really felt Leigh Silverman's direction was one of the big problems at the Public. Yet here she remains with cosmetic changes around her. (And it may be that Shaina felt her a vital part of the creative process.)

Obviously withholding judgement until after I see it because maybe I'll find it brilliant, but it makes you wonder how the show could have evolved with a director like Rachel Chavkin or Diane Paulus or Marianne Elliott or Sarah Benson. Or even someone like Sarna Lapine (underrated) or Lear DeBessonet. Or throw optics to the wind and hire George C. Wolfe (these white women would never).

The story needed to be condensed and focused at the Public - with less focus on theatrical reparations - and the score needed to have a greater sweep. It sounds like that has not yet been properly achieved.

I *despised* this at the Public; found it to be self-important, bloated, boring...and occasionally confusing. Phillipa Soo was the sole bright spot. The material was extremely didactic in its approach, and riveting drama that does not make. My expectations going in were sky-high given the pedigree of the team and performers involved, and it was so, so, so disappointing. While I'm sure this Broadway production will offer improvements, I can't imagine it changing my mind about the show, because in my opinion, its core concept of execution was inherently flawed.

maggieluvtheater said: "I disagree. I saw it last night and was floored. Yes - theres room for 10 or so mins to be shaved off/sped up in Act 1, but I found it much more powerful than at the Public.

To me, the "wikipedia-ness" of it is necessary - very few people know this story (I, for one, didn't) and I found it gripping - similar to Oppenheimer or The Social Network. I think this is a major contender this year. I'm so excited this is on Broadway - the score is remarkable."

You joined on March 26 to post a rave? Yeah. Okay.

inlovewithjerryherman said: "I *despised* this at the Public; found it to be self-important, bloated, boring...and occasionally confusing.Phillipa Soo was the sole bright spot. The material was extremely didactic in its approach, andriveting drama that does not make. My expectations going in were sky-high given the pedigree of the team and performers involved,and it was so, so, so disappointing. While I'm sure this Broadway production will offerimprovements, I can't imagine it changing my mind about the show, because in my opinion, its core concept of execution was inherently flawed."

This PERFECTLY encapsulates my feelings about this show.