SALT LAKE CITY – The latest production to grace the stage at the Eccles Theatre is Suffs, the Broadway musical sensation about the women’s suffrage movement. With book, music, and lyrics by Shaina Taub, Suffs is a fast-paced, emotional, often humorous production that leans into the complexities of the suffrage movement with respect to age, race and societal norms. With powerful performances and brilliant technical designs, Suffs is an absolute must see for women and men alike.
With a Broadway run from April 2024 – January 2025, and winner of two Tony Awards for Best Book and Best Score, this national tour of Suffs under the direction of Leigh Silverman begins at the National American Woman Suffrage Association (NAWSA) in 1913 with Carrie Chapman Catt (Merrill Peiffer) calling for the support of women’s suffrage. Noticing the lack of progress made by NAWSA, Alice Paul (Maya Keleher) suggests a more radical approach by organizing a women’s march in Washington, D.C. on the day of Woodrow Wilson’s inauguration. Alice, alongside her friends and colleagues Lucy Burns (Gwynne Wood), Inez Milholland (Monica Tulia Ramirez), Ruza Wenclawska (Joyce Meimei Zheng) and Doris Stevens (Livvy Marcus), organize the march themselves and without the support of NAWSA. As the march gains momentum, issues within the movement are evident, with many white women refusing to march alongside Black women. Not wanting to hinder the march, Alice succumbs to the demands of the white women, much to the dismay of Black journalist and activist, Ida B. Wells (Danyel Fulton). The march is viewed as a success and propels the suffrage movement forward, even if at a glacial pace, eventually leading to the ratification of the 19th Amendment to the United States Constitution which granted the right to vote to some women.
The beauty of Suffs is its willingness to say the quiet parts out loud, to illustrate the rawness of the suffragists and to showcase their humanity and vulnerabilities. Almost immediately, audiences see conflict within the movement with respect to age and generational differences. Keleher and Peiffer expertly convey their disapproval of one another, with Peiffer wanting to maintain the status quo and Keleher hoping to breathe new life into the movement with her youthful perspective. Peiffer’s strong performance of “This Girl” encapsulates the conflict, the concern Carrie has that her decades of work might be ruined by Alice’s overt gestures and progressive ideas.
Keleher gave an outstanding performance. Her portrayal of Alice’s youthful energy, enthusiasm and dedication to the cause was electric to witness. Her vocals soared throughout the venue, and her delivery was perfect. One moment that was particularly striking for me was her performance of “Worth It,” in which we see a softer side to Alice. Keleher eloquently conveyed what presumably many suffragists felt: is this fight worth it? Is it worth the sacrifice? Keleher’s ability to boast as a leader while also showcasing her character’s insecurities and internal struggles added another texture to the overall performance that was rich and moving.
Shaina Taub plays Alice in The Broadway National Tour of Suffs Plays through 11/16 at the Eccles | PC: Joan Marcus
Another layer of texture to the story is Alice’s insecurities about her passion for equality. In a moving performance by Keleher of “Worth It”, audiences are reminded of the physical, mental and emotional toll the women experienced. Taub’s striking lyrics illustrate the profound challenge it was to defy societal norms set for women to be wives and mothers:
“What would my life look like if I wasn’t so consumed by this? I see women with their children in the park, and I feel a little ache. Is knowing that kind of love really something, I’m willing to miss?”
It is easy to envision a production like Suffs showcasing women without weaknesses or concerns or doubts, so the fact that the story embraces the frustrations and fears of the women speaks to the integrity of the story and one of the reasons for the show’s success.
Another noteworthy moment was the song “I Was Here” performed by Fulton, Trisha Jeffrey as Mary Church Terrell and Victoria Pekel as Phyllis Terrell. Breathtaking was this scene, as the women recount the days’ events, that women won the right to vote while slowly acknowledging that all their hard work ultimately doesn’t apply to them. It was a powerful moment as the three held their heads up high despite not knowing if equality would ever be theirs. Breathtaking was this scene, as the women’s voices blended effortlessly together, and their harmonies brought tears to my eyes. These women were brought to life by Fulton, Jeffrey and Pekel.
In addition to the flawless performances, the brilliant Costume Design by Paul Tazewell, Tour Scenic Design by Christine Peters and Lighting Design by Lap Chi Chu were crucial to the production’s success. Peters’ impressive design resulted in near seamless transitions from scene to scene. The precision with which the set was altered as needed was perfect and it kept the production moving at a swift pace. Tazewell’s design choices were just what one might imagine when envisioning a suffragist. The sashes, the hats, and the variety of styles and colors brought the characters to life. Appreciated also was Chi Chu’s lighting design which often featured the silhouettes of the cast against bright lights. Perhaps the most spectacular addition to the set was at the end of Act I when a large portrait of the real Inez Milholland riding her white horse during the march of 1913 comes center stage.
Suffs is a deeply moving performance that is not only entertaining but historically important. In a time when the achievements or contributions of women continue to be questioned or diminished, Suffs is a reminder to be grateful for the work of those who came before us, and that change is possible even when there are obstacles. Just keep marching.
These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.
