‘Suffs’ @ Bass Performance Hall (tour/PAFW)
Photography by Joan Marcus
—Carol M. Rice
I realize I should be more professional than this in my opinion about Suffs, the new musical currently running at Bass Performance Hall (part of Performing Arts Fort Worth’s “Broadway at the Bass” season). Yet all I really want to say is: This show is amazing and EVERYONE should go see it!
I need to write more than that, of course, but please be forewarned that Suffs has catapulted into my Top Three favorite musicals of all time. Prepare for much gushing.
I’ll admit I didn’t expect to love it this much. I caught the pro-shot version shown on PBS Great Performances a few months ago and thoroughly enjoyed it, but seeing it live was a whole new experience...which just confirms my belief that theatre is meant to be seen in person. Don’t get me wrong: I know there are lots of plays and musicals I would never get to see at all if there weren’t recordings made of them, but there’s nothing like live theatre.
Shaina Taub wrote the book, music, and lyrics for Suffs and played the lead role of Alice Paul on Broadway when it opened in 2024. The show was nominated for six Tony Awards, including Best Musical, winning for both Best Book and Best Score. Based on historical events beginning in 1913, the story is about several of the real suffragists who fought for the American women’s suffrage movement. And, though the movement had been in existence for 65 years by that time, it was the inauguration of President Woodrow Wilson, and the lead-up to the ratification of the Nineteenth Amendment, that finally gave U.S. women the right to vote in 1920.
Carrie Chapman Catt, magnificently portrayed by Marya Grandy, has for years been leading the National American Woman Suffrage Association (NAWSA) with a conservative approach, highlighted by “Let Mother Vote.” Then Alice Paul (Maya Keleher) arrives on the scene asking her to step things up – literally. Alice proposes a march on Washington D.C. on Wilson’s inauguration day, and when Carrie blows her off, newbie Alice takes matters into her own hands and makes it happen.
As played by Keleher, Alice is the polar opposite of Grandy’s Carrie, scrappy and ready to fight with massive amounts of nearly uncontrolled energy, whereas Grandy is sophisticated, polite, and controlled. The friction between the two is inevitable...and tons of fun to watch unfold! These two women have exceptional stage presence, and their conflict comes to a head at the 1916 NAWSA convention. The scene containing “The Convention Part I,” “This Girl,” and “The Convention Part II” featuring them both is absolutely brilliant.
Laura Stracko plays the scene-stealing role of Alva Belmont to perfection, as well as the completely different character of Phoebe Burn, the inspiring mother of a state Senator later on. Her songs “Alva Belmont” and “A Letter From Harry’s Mother” are as far apart in style as the two characters, but equally incredible.
As Black journalist and activist Ida B. Wells, Danyel Fulton makes herself known (and noticed) the instant she hits the stage. Her commanding presence and stunning vocals – especially in “Wait My Turn” – are exactly what the role demands. A lesser actress might relegate the plight of Black women trying to make their way in a harsh and unforgiving world to an afterthought in the grand scheme of all American women trying to get the vote, but in Fulton’s hands, it’s an equally important equal hurdle to cross.
Ida is joined in the fight by Mary Church Terrell and her daughter Phyllis, played by Trisha Jeffrey and Victoria Pekel, who provide us with yet another contrasting view of the methods used to try to get the vote. Fortunately, Ida and Mary aren’t quite as different as Carrie and Alice, but they still manage to butt heads. Pekel also plays Robin, a 1970s feminist looking to interview Alice Paul about the Equal Rights Amendment; she brings distinctive interpretations to both of her roles.
On the night I reviewed, Merrill Peiffer also brought a quirky cluelessness to the role of President Woodrow Wilson, but that’s not to say playwright/composer Taub makes Wilson an idiot. As with most politicians (at least these days), he just doesn’t want to champion change that doesn’t align with his personal beliefs...or those of his party. Peiffer is extremely funny, especially in “Ladies,” and while Taub doesn’t quite make Wilson the guy you love to hate (leaving him the occasional redeeming quality), we definitely want him to get his comeuppance when the women win the vote.
As Wilson’s chief of staff Dudley Malone, Brandi Porter plays the one man who isn’t stuck in a rut and is instead willing to listen and learn from the women around him, specifically Doris Stevens, played by Jenna Lea Rosen. Rosen is a unique mix of mousy and go-get-‘em, especially when meeting with Dudley the first time. The two quickly develop a bond in “If We Were Married,” and watching their sweet relationship grow is a highlight of the show.
The glamorous socialite/attorney Inez Millholland is portrayed with brash self-assurance by Monica Tulia Ramirez. Ramirez has a powerhouse voice and excellent stage presence. The image of her in a gold bustier and crown on a white horse during the march is stunningly impactful, making her early death even more devastating.
Joyce Meimei Zheng brings intensity and strength to Polish labor organizer Ruza Wenclawska, as well as providing a great deal of humor. Zheng is almost as energetic as Alice, but her energy is different – more angry and less focused.
Gwynne Wood plays Lucy Burns with devotion and commitment to whatever crazy scheme her best friend Alice comes up with. I love her story about when the two met, and “Lucy’s Song” is a fitting tribute to their longstanding friendship.
As Molly Hay, Tami Dahbura is equally devoted to Carrie – more so, in fact, since they had much more than a professional relationship. The occasional squabbles they have make their long-term romantic relationship more realistic.
Beyond their outstanding individual performances, I have to compliment the chemistry among the five main members of the National Woman’s Party – Keleher, Rosen, Ramirez, Zheng, and Wood. When they first meet, things are awkward until they get into a rhythm, just as a real group of women working together would be. Then once they bond over their shared commitment to the cause, their relationships become easier, more relaxed. Taub has done a fine job developing these characters and their friendships.
The rest of the cast is essential to the story, as the ensemble members play many characters. Anna Bakun, Marissa Hecker, Annalese Fusaro, and Gretchen Shope do a stellar job shifting among their multiple roles.
Not only are the performances in Suffs incredible, but the music, choreography, design, and technical aspects come together beautifully to complete the story, all under Leigh Silverman’s expert direction in bringing the overall vision to life.
I could go on and on about Suffs, but I’d rather you see this one for yourself. It’s a short run – just until August 9 – so get to Bass Performance Hall in Fort Worth before it’s too late.
WHEN: August 4-9, 2026
WHERE: Bass Performance Hall, downtown Fort Worth
WEB: basshall.com
