That “suffus” would be back, but even on Broadway, it wasn’t an exciting prospect. While it hasn’t magically transformed into a great show, version 2.0 is tighter, more confident, often exciting, and downright entertaining. We can only rejoice that the creative team led by Taub, who wrote the book and music, and director Lee Silverman, didn’t back down.
“Suffus” is set in the years leading up to the ratification of the 19th Amendment, which granted women the right to vote in 1920. The show focuses specifically on Alice’s group of five real-life extremists, led by the indefatigable Alice She-Paul. (Taub). But Paul isn’t in the spotlight as much as he is in 2022. The reconstructed musical is more ensemble-based. Not only does this reflect the collective aspect of activism, but it also takes some pressure off Taub, whose acting and singing skills aren’t as sharp as his songwriting skills. (She and most of the cast are returnee children.)
Meeting the members of the aforementioned quintet is one of the most fascinating parts of the show. Because building a crack team is always going to happen, whether that team is fighting intergalactic villains, producing a report on Russian interference, or fighting for equality. Here, Paul’s strong friend Lucy Burns (Allie Bonino), charismatic lawyer Inez Milholland (Hannah Crews, a worthy successor to Philippa Soo), and budding writer Doris Stevens (Nadia Dandasi) are included. ), and the socialist flamethrower Luza Wenzlawska (Kim Blank) appears.
Suffus does a good job of tapping into the blind spots of white activists, especially their rocky relationships with black activists, represented by Ida B. Wells (Nikki M. James) and Mary Church Terrell (Anastasia McCleskey). . For example, to appease Southern donors, Paul suggests that a “delegation of colored people” should go behind the massive Women’s March on Washington. (The behind-the-scenes negotiations and compromises that take place before major decisions are made should be familiar to one of the show’s producers, Hillary Clinton.)
The tension on the political side was interesting, and in this case involved a Goldilocks discussion of tactics. “Too fast or too slow?” Too much or not enough? Paul is less radical than Welles or Church Terrell, but Carrie Chapman Catt (Jen Colella, Tony nominee for Come From Away) is an older reformer who insists on waiting for the right moment to act. Compared to her, she is an instigator. She says it will come… someday. As for the government structure, it’s represented by Woodrow Wilson (Grace MacLean), a goofy and contemptuous president who can’t wait to get rid of feminist pests.
The story and sometimes the crowds of people crowding the stage, all of whom look great in Paul Tazewell’s period costumes and under Lap Chee Choo’s dramatic lighting. And none of them have been explored that deeply. The character’s illness is revealed, and by the time she finds out, she’s dead. This happened shortly after Alice Paul pressured her to give the speech again, but neither Taub’s writing nor her performance suggest Paul’s relentless drive. The show has a hard time even hinting at the pain and anger these women felt. It’s the experienced actresses who wring the pathos out of both book and song, and James is a particularly fiery flame.
“Suffs” captures the excitement and urgency of being caught up in a fight for a cause and discovering yourself and your allies in the process. One of the most striking changes to the carefully edited score throughout is a new song in which the five instigators giddily and proudly proclaim, “I am a great American.”
It’s a cheeky pioneering move, but for the most part ‘Safs’, while often very funny, remains in a serious mode without irony, ending in a passionate declaration of war: ‘Fail or fail’ can be completely yours. Win, well, you might never know,” Paul sings. “But keep marching, keep marching.”
Suffus, currently underway at the Music Box Theater in New York. 2 hours 30 minutes including break. suffsmusical.com.
