The musical “Parade” opened on Broadway in 1998 and was subject to a short run, closing in February of 1999 before eventually winning two TONY awards for Best Book of a musical by Alfred Uhry and Best Original Score by Jason Robert Brown. This original production received critical acclaim but was received poorly by audience members, sighting the subject matter and blunt racial slurs and situations as the reason. The first Broadway revival of this musical, currently running at The Bernard B Jacobs Theatre, stems from a successful City Center Encore production from late last year, and given the present socio-political climate, seems even more relevant now. The plot is the dramatization of the trial and conviction of Leo Frank (an austere but vulnerable Ben Platt), a Jewish factory manager in Georgia, who is accused of raping and murdering a young girl, Mary Phagan (an innocent and appealing Erin Rose Doyle), who is an employee. After Leo’s wife Lucille Frank (an intelligent and determined Micaela Diamond) urges Governor Slaton (a solid and reasonable Sean Allan Krill), to reopen the case and further investigate the witnesses, he commutes the death sentence to life in prison. The people are enraged and an angry mob kidnaps Leo from prison to lynch him. This dramatization, however, does suggest that Leo Frank was innocent of any crime.

This is a powerful, uncompromisingly forthright production that soars under the deft direction of Michael Arden, who melds music, dialogue, and movement seamlessly into an intricate dramatic tapestry. It is fast and fluid but focused and fearless, as it tackles themes of racism and anti-Semitism, all the while managing to keep the love between Leo and Lucille as a nucleus of the story. It is like watching cogs in a well-oiled machine, all turning and fitting together to produce the flawless product. Uhry’s book is no nonsense and precise while Brown’s music is bold varied and emotional, supporting each scene.

Mr. Platt gives an intriguing performance as he tackles the complicated role of Leo Frank. He is reserved and proper, with a bonfire of angst and turmoil burning inside his sophisticated demeanor. His vocals are a pleasure and complement his character. Ms. Diamond is ravishing as she portrays a strong-willed, persistent, and intelligent Lucille, never giving into stereotype or convention. Her vocals are pure, powerful, and close to perfection. Paul Alexander Nolan delivers a riveting performance as prosecuting attorney Hugh Dorsey, digging deep to bring racism to the surface, as he hides behind a veil of justice. He consumes the role of a villain, despicable at every turn, while providing honest, unadulterated vocals. Rousing vocals and a robust characterization make Alex Joseph Greyson’s performance honest and energized. Sean Allan Krill turns in a likable, pleasant, and conflicted Governor Slaton, while Howard McGillin does double duty with admirable characterizations of Judge Roan and the old soldier.

The multi-level scenic design by Dane Laffrey works well enabling a flowing transition from scene to scene. Costumes by Susan Hilferty are spot on for the period and geographical location. Heather Gilbert creates dramatic moods with her creative lighting design. This production without any doubt is a great example of solid musical theater. Although the subject matter is difficult, it is handled carefully and respectfully, delivering an honest dramatization of an important event in the history of our county’s judicial system and the incrimination of racism and anti-Semitism. It is also a beautiful love story that is filled with the resiliency of the human spirit. This “Parade” is bold and brilliant as it marches to a timely beat.