A picnic and sprawling magnolia tree have never held greater meaning.

Taking place nearly 50 years after the Civil War in 1913, Ken Crossman depicts Leo Frank, a quiet and disciplined Jewish Brooklynite working hard to build a life in Georgia with Eliza Barmakian as Lucille, his Southern resourceful wife, when one harrowing night changes everything.

Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime. When truth is set aside, where is there to turn?

Prudently directed by Brit Garner with Alex Taylor’s earnest music direction, Newton Theatre Company presented historical musical drama Parade live and in person at St. John’s Episcopal Church in Newtonville, MA through Saturday, October 10. Based on a true story, this immersive musical’s action was not limited to the stage and ran 2 hours and 30 minutes including one intermission. Click here for further details about this sold out musical.

Having seen Jason Robert Brown’s The Last Five Years, Brown has a gift for articulating a vast array of complex emotions while glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and rueful to optimistic. The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought-provoking.

I had not heard of Leo Frank’s story until witnessing Parade’s national tour at Emerson Colonial Theatre in Boston, Massachusetts last year. This significant tale features some dark aspects that I hesitated to revisit a second time, but Newton Theatre Company’s musical presented the memorable tale in its own distinct way. From a massive musical production featuring a large cast and choir to an immersive and intimate theatre church space in a play-within-a-play atmosphere, this production featured the fictional theatre troupe The Parlor Players as they presented ‘The Lament of Leo Frank.’ The same power and heart of this important tale lingered within these two independent styles.

This captivating musical is based on a gripping true story and evokes a wide range of emotions.  Like a parade, it unfolds with James Allen’s ascending vibrato and an opening drum roll of The Old Red Hills of Home boasting compelling harmonies and Garner’s carefully helmed direction.

An intimate quintet band wraps around a magnolia tree stacked on a tiered stage that includes a variety of trunks. This cleverly staged production takes advantageous use of every inch of the stage in dynamic blocking which makes the experience intimate and immersive while occasionally presenting scenes simultaneously. First adorned in all black, the cast gradually gains bursts of color as the show unfolds, fittingly capturing the essence of the Progressive era in pastels to deep reds with brimmed and floral wicker hats, blouses in frills and lace, classic suspenders, three piece suits in wool, plaids and corduroy as well as loose ribbons.

The fictional Parlor Players are made up of a dozen versatile actors, many of whom take on more than one interdependent role as they travel from town to town to share the story of Leo Frank. Crossman’s yearning and poignant vocals stirringly capture Leo’s stark loneliness and deft humor in How Can I Call this Home. With gravitas and sincerity, Crossman exposes an unsettling insecurity and uncompromising practicality as Leo as he shares his thoughts in melodious vocals and quiet candor emphasized during the impassioned ballad, It’s Hard to Speak my Heart. He also shares elevating chemistry with Barmakian as spirited and resourceful Lucille as they create powerful harmony for the resilient and optimistic duet It’s Not Over Yet and a soaring rendition of All the Wasted Time.

James Allen also empathetically depicts Frankie Epps, especially for a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmony to a chilling transition of a boy maturing in an instant. Charismatic Allen and Ellie Lauter as exuberant Mary Phagan share playful and sweet moments during the catchy number The Picture Show.

In black with a thin red tie, Matthew Zahnzinger roars as slick and calculating Hugh Dorsey. Zahnzinger infuses a smooth façade with a sharp edge, and when provoked, Dorsey’s tense smile tears away as he snarls his words for Somethin’ Aint Right. Thain Bertin shines as charismatic yet contentious Tom Watson and semi-narrator leading the urgent Hammer of Justice highlighted by David Edge’s intense and flashing multicolor lighting. Nick Corsi is also notable as scandal thirsty reporter Britt Craig desperate to revive his career in the conspiring Real Big News.

Parade’s layered and kinetic choreography is demonstrated in the hypnotic turn and puppetry of The Factory Girls and the mischievous spring of Pretty Music with charismatic baritone Tim Lawton depicting an array of pivotal roles including slick Governor Slanton jubilantly spinning ladies across the dance floor as well as stringent yet levelheaded Judge Roan. The haunting and clapping rhythms and choreography form Feel the Rain Fall featuring Darren Paul’s strong vocals as mysterious Jim Conley as well as the telling and satirical number Where will you Stand when the Flood Comes.

Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking.  Just as affective without the pomp and circumstance, Newton Theatre Company cleverly delivers this haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of history that marches on.

Newton Theatre Company presented historical musical drama Parade live and in person at St. John’s Episcopal Church in Newtonville, MA through Saturday, October 10. Click here for further details about this sold out musical.