The Cast Photo by Joan Marcus

Take the case of Leo Frank, whose tragic story is played out in the musical Parade in a way that is thrilling yet heartbreaking and, importantly, magnificently staged. The 1998 show (with music and lyrics by Jason Robert Brown and a book by Alfred Uhry and which won Tonys for Best Book and Best Original Score) was restaged in 2023 and received the Tony for Best Revival of a Musical; its touring production has made its way to San Francisco for a run at BroadwaySF's Orpheum Theatre.

Although the musical takes some liberties with Frank's sad tale–as it must to fit within the confines of a 2.5 hour (with intermission) running time, the incredibly talented cast play the roles of real historical figures. Projections and occasional titles help to ground the show in the cruel realities of the Frank case.

If you are unfamiliar with the story, it concerns a young man who grew up Jewish in Brooklyn, received a degree in Mechanical Engineering from Cornell, then moved to Atlanta, Georgia to become the superintendent of the National Pencil Company factory, in which his uncle was a major shareholder. In the early morning of April 27, 1913, 13-year old factory worker Mary Phagan was discovered murdered in the basement of the factory. Although initial suspicion fell on two Black men–the factory's night watchman and a janitor–the police ultimately arrested Leo Frank. Soon after he was indicted, tried, convicted, and sentenced to death. After appeals failed, the governor of Georgia commuted his sentence to life imprisonment, but this was not enough for the people of Georgia, and on August 16, 1915 a mob broke into the jail where Frank was being held, and lynched him.

If all this sounds like massive spoilers, you'd be right. But since there is an image projected (on a screen upstage in Dane Laffrey's spectacularly realized set) of an historical marker at the site of the lynching that lays out many of the details of the event, I'm not really giving anything away. Knowing the story's sad conclusion does not detract a whit from the brilliant performances and amazing musicality on display here.

Jason Robert Brown's score, while generally devoid of any truly hummable tunes, is nonetheless stirring, at times anthemic, sweetly (and sadly) melodic at others, and the orchestra and wonderful chorus fill the Orpheum with a rich sonic aura. Uhry's book tends to gloss over many of the details of the case–during the onstage trial of Frank, there is no cross-examination of witnesses, nor any defense presented; all we see are the prosecution's assertions and the testimony of witnesses who were allegedly coached by the prosecution.

What makes the show most compelling–in addition to the wondrous set and projections–is a cast of stellar performers in each and every role. Max Chernin looks eerily similar to the real Leo Frank, but I'd be surprised to the point of fainting if the real Leo could sing with anything close to the power and gorgeous tonality Chernin brings to the stage. As written by Uhry, Leo Frank isn't especially likable–he's a bit chilly and somewhat dismissive of others. He's slight of build, but carries himself with a certain amount of intellectual swagger. "This is wrong, this is wrong, I can fix this," he mutters as he examines some figures, and it seems to reflect his general approach to life. Sadly, however, there is one thing he can't fix: the anti-semitism and fear of outsiders, especially Yankees, especially Jewish Yankees.

Chernin is surrounded by other skilled performers. Talia Suskauer, who plays Leo's wife Lucille, has a sweet soprano that floats through the air as though on silken threads. In the minor role of Frankie Epps, newcomer Jack Roden has an easy yet powerful grace when he moves on stage; I'd love to see him in a role that requires him to show off his clearly top-notch dance moves. The chorus that backs the leads is equally terrific, with strong voices that fill the Orpheum to the very back of the house.

Director Michael Arden has filled this production with dozens of tiny touches that might go unnoticed, but nevertheless add to the feelings of ostracism and injustice. Often when the Black characters are onstage, especially in the courtroom, the white characters stand with their backs to them. And during intermission, when the rest of the cast leave the stage, Chernin as Frank remains on the platform at center stage that represents his jail cell, reinforcing his imprisonment.

The murder of young Mary Phagan remains unsolved (although the state of Georgia has an ongoing investigation into it), but this production of Parade is like a mirror held up to the racism, anti-semitism, and political power plays that cost one outsider his life. It's a sad story to be sure, but don't turn away from it or you will miss some of the best musical theatre of the year.

Parade runs through June 8, 2025, at BroadwaySF's Orpheum Theatre, 1182 Market Street, San Francisco CA. Performances are Tuesdays-Saturdays at 7:30pm, and Wednesdays, Saturdays and Sundays at 1:00pm. Tickets range from $69.03-$260.91 (limited $49 orchestra seats are currently on sale). For tickets and information, please call 888-746-1799 or visit broadwaysf.com. For information on the tour, visit paradebroadway.com/tour