• Review For Us
  • List Your Show
  • Advertising
  • Musicals
  • Plays
  • Ballet & Dance
  • Previews
  • First Look
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Discounts
    • Musicals
    • Plays
    • Opera
    • Dance
    • Concerts
  • Edinburgh Fringe 2022
    • Edinburgh News
    • Edinburgh Previews
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Discounts
    • Musicals
    • Plays
    • Opera
    • Dance
    • Concerts
  • Edinburgh Fringe 2022
    • Edinburgh News
    • Edinburgh Previews
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
No Result
View All Result
Home Reviews
Parade Frogmore Mill Review

Parade Frogmore Mill Review

Review: Parade at Frogmore Mill

by Greg Stewart
September 9, 2017
Reading Time: 4 mins read

Five Star Review from Theatre Weekly

Vivo D’Arte set themselves quite the challenge in producing Alfred Uhry and Jason Robert Brown’s Parade.  The double Tony Award winning musical is based on a deeply harrowing true story and requires sensitivity in the staging, and a cast with the passion and commitment to fully explore the many layers of the story.  If that wasn’t challenging enough, director Dan Cowtan has chosen not to stage it in a theatre, but in the world’s oldest working papermill; Frogmore in Hemel Hempstead.

Given the location and set up, I wasn’t entirely sure what to expect.  Then, as the Young Soldier, Lawrence Smith, opened the show with a beautifully tender ‘Old Red Hills of Home’, with the audience huddled together under a sea of confederate flags, it became clear this was to be an extraordinary experience.

       

On Memorial Day 1913, Leo Frank is falsely arrested for the rape and murder of Mary Phagan, a thirteen-year-old employee of the factory where Frank is Superintendent.  Although the evidence is entirely circumstantial, the media creates a frenzy which emboldens a sense of anti-Semitism in the local community, and Frank is found guilty of the crime.

This Parade is an entirely immersive production, whereby the audience move from scene to scene, guided by the cast who remain resolutely in character, even when they need to hurry some of the more lackadaisical audience members along.  I was guided to “a good seat” at Leo Frank’s trial by Mrs Phagan (Elise Allanson), was led to the basement, where Mary’s body was found, by Newt Lee (Jacob Yolland), and stood right beside Luther Z Rosser (Ross Hadley) at the Governors Ball.

You mightalso like

Artist Development Programme courtesy Vivo DArte

Vivo D’Arte Announces Artist Development Programme

Isnt He Something Chiswick Playhouse

Chiswick Playhouse announces concert in homage to late Stephen Sondheim

You cannot help be swept up in the realism of it all, and here’s the real coup de grâce – you completely forget this is a theatrical production; Jason Robert Brown’s hauntingly beautiful score floats along with you, no matter where you are inside or outside the building.  For the most part, the action is continuing as you move through the mill yet, every cue is hit absolutely on time.  From a technical standpoint, this is a masterpiece.

Then, there’s the stunning cast. Connor Dyer is exceptional as Leo Frank, he captures every nuance of the character, with his mannerisms curt and precise, and each line delivered with explicit purpose.  Sherelle Kelleher plays spouse Lucille Frank, bringing flawless vocals to the complex libretto.  Philippa Rose, as the young Mary Phagan, acts as our guide through the mill and often achieves so much without speaking a word.

Dylan Wynford is mesmerising to watch as Frankie Epps, in every scene he manages to portray yet another layer of the character, while Tré Copeland-Williams cuts a terrifying figure as Jim Conley.  The second act opens with an incredibly impassioned ‘Rumblin’ And A Rollin’’ from Esme Sears and Zackary Agama, and later in this act Charlie-Jade Jones gets to build on her already emotionally intense performance as Iola Stover.

There is not one weak link in the entire cast, and that’s saying something, because there is nowhere for them to hide; they are standing amongst us, singing and performing within touching distance. The chain gang scene alone, is evidence enough of their unwavering commitment to the production.  Comprised of recent graduates, many of whom are making their professional debut, this is an ensemble that could easily compete with a West End cast every night of the week.

       

Vivo D’Arte say they aim to instil passion, commitment and excellence in the young people they work with, and they have achieved all three in abundance with Parade.  The whole experience of being part of the action; moving from scene to scene and interacting with the cast is a magical one, which will not be easily forgotten by anyone who sees it.  This production of Parade is a wondrous theatrical event which deserves to be shared far and wide.

 

1 of 8
- +
Parade at Frogmore Mill
Parade at Frogmore Mill
Parade Frogmore Mill Review
First Look Parade at Frogmore Paper Mill Credit Jamie Scott
First Look Parade at Frogmore Paper Mill Credit Jamie Scott
ADVERTISEMENT

1. Parade at Frogmore Mill

Parade at Frogmore Mill

2. Parade at Frogmore Mill

3. Parade at Frogmore Mill

Parade at Frogmore Mill

4. Parade at Frogmore Mill

Parade at Frogmore Mill

5. Parade Frogmore Mill Review

Parade Frogmore Mill Review

6. First Look Parade at Frogmore Paper Mill Credit Jamie Scott

First Look Parade at Frogmore Paper Mill Credit Jamie Scott

7. First Look Parade at Frogmore Paper Mill Credit Jamie Scott

First Look Parade at Frogmore Paper Mill Credit Jamie Scott

8. First Look Parade at Frogmore Paper Mill Credit Jamie Scott

First Look Parade at Frogmore Paper Mill Credit Jamie Scott

       
Greg Stewart

Greg Stewart

Greg is an award-winning writer with a huge passion for theatre. He has appeared on stage, as well as having directed several plays in his native Scotland. Greg is the founder and editor of Theatre Weekly

Related Articles

Artist Development Programme courtesy Vivo DArte
News

Vivo D’Arte Announces Artist Development Programme

Isnt He Something Chiswick Playhouse
News

Chiswick Playhouse announces concert in homage to late Stephen Sondheim

John & Jen at Southwark Playhouse. Rachel Tucker and Lewis Cornay Photo Danny Kaan
Reviews

Review: John & Jen at Southwark Playhouse

John Jen Southwark Playhouse Rachel Tucker and Lewis Cornay Photo Danny Kaan
First Look

First Look: John & Jen at Southwark Playhouse

Cadogan Hall
News

The British Theatre Academy Launches Open Auditions for Stars of 13 at Cadogan Hall

John Jen at Southwark Playhouse
News

Rachel Tucker and Lewis Cornay Star in World Premiere of New Version of John & Jen

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

I agree to the Terms & Conditions and Privacy Policy.

Twitter Facebook Youtube Instagram

At Theatre Weekly we give theatre a new audience. You'll find our theatre news, theatre reviews and theatre interviews are written from an audience point of view. Our great value London theatre tickets will get you the best deal for your theatre tickets.
Theatre Weekly, Kemp House, 152 - 160 City Road, London EC1V 2NX
  • Join Our Community
  • Privacy Policy
  • Cookie Policy
  • Terms and Conditions
  • Contact Us
  • Advertising

Recent News

Curve Finding Home Cast

Curve Announces Finding Home Company to mark 50th anniversary of Ugandan Asian Exodus

RSC Mischief Festival

Royal Shakespeare Company Announces Return of The Mischief Festival to The Other Place

© 2020 Theatre Weekly

No Result
View All Result
  • Home
  • Tickets
  • Digital Theatre
  • News
    • West End
    • Off West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Edinburgh Fringe 2022
    • Edinburgh News
    • Edinburgh Previews
  • Contact Us
    • Join us as a Reviewer

© 2020 Theatre Weekly