PARADE
Donmar
Warehouse, London WC2
Opened 24 September, 2007
***
Rob Ashford's first-rate production does every credit to Alfred Uhry
and Jason Robert Brown's musical; unfortunately the musical, skilful
though it is, does rather less credit to the subject matter. The 1913
case in which Leo Frank was convicted of the murder of 13-year-old Mary
Phagan in Atlanta, Georgia, raises a vast number of issues. The
programme enumerates these as "class anxiety" (Frank was a manager at
the pencil factory where Phagan worked, and a Yankee to boot), "yellow
journalism" (one of W.R. Hearst's papers fervently whipped up
anti-Frank sentiment), "the exploitation of labour" (Phagan and her
co-workers were paid derisory wages), "anti-Semitism" (Frank was a Jew,
which gave the Old South and black people a chance to unite in a
different shade of bigotry) "and the ways in which the efforts of
well-meaning people can backfire": Frank's case was taken up by a range
of folk including Edison and Henry Ford, all of which made Georgians
feel more defiant, and when Governor John Slaton commuted the death
sentence to life imprisonment, Slaton lost his office and Frank his
life to a kidnapping-and-lynch mob of prominent citizens.
All these complexities are acknowledged by Uhry's book and Brown's
songs (which at their best reminded me of the mature, less coruscating
Randy Newman), but virtually none of them is addressed in any
substantive way. Instead we are kept firmly focused on the individual
human-interest story... so firmly that the writers even scorn one of
drama's most reliable devices. During a courtroom sequence we hear not
one word of the defence case, not even cross-examination of prosecution
witnesses (all of whom are portrayed as having been coached by an eager
District Attorney). It is, in its way, impressive how adeptly we are
manipulated both in our sentimentality and in our closely shepherded
social outrage. As Frank himself, Bertie Carvel also deserves plaudits
for a performance which does nothing to hide the character's
unattractive aspects without compromising his fundamental innocence.
And of course, with a story of a child murdered and suspects hounded
through the press, we cannot help but draw comparisons with more
immediate events. But the partiality of Parade grows more palpable the
longer it goes on, and at two and three-quarter hours that gets pretty
palpable.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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