A User-Driven Site for Theater in Atlanta, Georgia
a Musical
by Jason Robert Brown and Alfred Uhry

COMPANY : Blackwell Playhouse
VENUE : Blackwell Playhouse
ID# 3558

SHOWING : January 09, 2010 - January 24, 2010



This musical takes place from 1913 to 1915 in Atlanta and Marietta, GA. It tells the story of the murder of Mary Phagan and the trial and lynching of Leo Frank. This is based on real events that unfolded and ended with the only lynching of a Jewish man ever to happen on American soil. This is not just a metro-Atlanta premier; it is being performed less than 2 miles from the final event and Mary Phagan's grave.

Director Rob Hardie
Vocal Director/Ensemble Hayley Tanner
Artistic Director John Christian
Lighting Designer Brian Clements
Costume Design Brad Dickey
Choreographer Anna Galt
Stage Manager Cheri Mattox
Music Director Mark W. Schroeder
Assistant Director Rene' Voige
Pianist Annie Cook
Lizzie Phagan Jessica Ainsley
Judge Roan Joel Altherr
Frankie Epps Joe Arnotti
Iola Stover Leslie Bellair
Governor John Slaton Brad Dickey
Mary Phagan Tara Kathleen Folio
Essie Anna Galt
Hugh Dorsey Don Goodner
Ensemble Rebecca Hardy
Mrs. Phagan Lisa Hatt
Tom Watson Gary Heffelfinger
Young Soldier/Britt Craig Patrick Hill
Factory Girl Jessica Lee
Mr. Peavey Tim Link
Newt Lee Solomon Longmire
Angela Jennifer Loudermilk
Factory Girl Carrie Manuel
Minnie Kirby Mason
Monteen (Factory Girl) Becca Mattox
Ensemble Cheri Mattox
Guard, Ensemble Jeffrey Mayhue
Leo Frank Jason Meinhardt
Ensemble Amanda Nummy
Lucille Frank Michelle Peck
Old Soldier/Ensemble Matt Pino
Starnes William Riggs
Ensemble Chandler Riggs
Sally Slaton Gina Ann Riggs
Ensemble Grayson Riggs
Factory Girl Karen Rooker
Luther Rosser Brandon Sartain
Ensemble Anita Stratton
Ensemble Hayley Tanner
Jim Conley Edwin Watson
Officer Ivey Evan Weisman
Riley/Ensemble Kameeka Williams
Set Design Rebecca Hardy
Set Design Matt Pino
Click to Submit Cast & Crew Info for this production


I love a PARADE.....
by a thespian in tears
Monday, January 25, 2010
The PARADE at Blackwell Playhouse may have just passed us by, but I didn't want the opportunity to as well to get in some much deserved kudos for this wonderful production. In fact, I enjoyed it so much, I saw it twice!

The talent in this cast truly was phenomenal. I can't find enough adjectives to describe the beautiful characterizations, vocal and acting abilities of Jason Meinhardt and Michelle Peck as Leo and Lucille Frank...I loved/cried at every single song they sang, solo, duet or ensemble and felt the power in their scenes from unsatisfied love, to finding themselves, each other and their passions, to being at the end of their rope, literally and figuratively...while there was not a weak link in this cast, I wanted to make special mention of: Joe Arnotti (Frankie Epps), made me cry as well; Leslie Bellair (Iola Stover), had a lovely voice and stage presence; Don Goodner (Hugh Dorsey), really loved hating him; Brandon Sartain (Luther Rosser), made me laugh out loud with just about every line; Edwin Watson (Jim Conley), loved his swagger in all definitions of that term; Patrick Hill (Britt Craig), for not being afraid to be intoxicating on stage, Joel Altherr (Judge Roan) and Solomon Longmire (Newt Lee), it had to be challenging to play those characters, age wise, as convincingly as they did; and Gary Heffelfinger (Tom Watson), his characterization and vocals intrigued me so much, I would've liked to hear the good Reverend preach a whole sermon!

The true life story of Leo Frank, as well as the theater production, has touched a place in my heart and my soul that will never make me view "parades" in the same way.... Congratulations again to Director Rob Hardie and his cast and crew (especially choreography, music, and costumes) for an incredible theatrical experience...

by a thespian in tears
And how could I forget the was a fabulous idea having the pencil factory be the setting for it all... the jail, the courtroom, etc....kudos to that crew as well!
Before the Parade Passes By
by Dedalus
Wednesday, January 20, 2010
Just to get my biases out of the way up front (and, if nothing else, this production is all about biases), Director Rob Hardie is a good friend with whom I’ve worked on more than one occasion. One of his jokes when I come to review one of his shows (and I give him the benefit of the doubt and assume it’s a joke) is to beg me to “grade on a curve.” The irony is that Mr. Hardie’s work, in general, is not at all needful of a “friendly boost.” And “Parade,” in particular, is one of the best musical productions I’ve seen at a non-professional venue.

With a book by Atlanta’s Alfred Uhry and music and lyrics by Jason Robert Brown, “Parade” is the hometown tale of the infamous 1913-14 murder trial of Leo Frank. Mostly sung-though, it establishes a post-Civil War ethos of depression and bigotry, an Atlanta where outsiders are not welcome and insiders still bear the brunt of faded (even imagined) glory. When poor Mary Phagan loses her life in a hideous and heinous crime, is it any wonder that the closest “outsider” to the case is made the scapegoat, convicted on bias and lies rather than actual evidence?

But the trial and conviction is only half the story. In Act II, a few men of integrity begin to question the evidence, and Leo Frank is granted a new lease on justice. That comes to a crashing end, when misguided men and women (supposedly with as much integrity), spurred on by political and religious demagogues, steal Frank from his jail cell and spirit him off to Marietta, where he is lynched in the shadow of what will one day be the “Big Chicken.”

To this day, there are many people fiercely protective of their families’ honor, fiercely convinced that Leo Frank was indeed guilty and was justly executed. Former governor Roy Barnes himself has a familial connection to the executioners, and spent years researching the incident before becoming convinced of Frank’s innocence. In fact, it took until 1986 for the Georgia Pardons and Paroles to posthumously pardon Leo Frank, and that was because the lynching deprived him of the right to appeal, not because of the mountain of evidence exonerating him.

“Parade” was literally the last show I saw in New York before moving to Marietta. Produced at Lincoln Center and directed by Harold Prince, it was a big and elaborate production, which moved me completely (and caused more than a few second thoughts about moving south). My wife, on the other hand, found it cold and uninvolving. Still, I liked it enough to see the touring company that came through the Fox Theatre a year later, and it remains one of my favorite Musical CD’s (and, in fact, Jason Robert Brown has become one of my favorite theatre composers).

So, it was obviously with excitement that I approached this production. One of Mr. Hardie’s strengths is his ability to scale back big-budget Broadway to not only fit into a small venue, but to use the intimacy of small theatres to bring out elements usually buried by big-budget razzle-dazzle. One needs only to look back to his production of “Cats,” which not only made that much-maligned show palatable, but reminded us why the poems of T.S. Eliot are worthy of musicalization.

And “Parade” starts out equally promisingly. The program sports one of the best logos to come out of Blackwell (young Mary Phagan holding a noose-shaped balloon, standing over the shadow of the title, which sports a Star of David). The set (by Matt Pino, Mr. Hardie, Brandon Sartain, and Becca Hardy) reproduces the fateful pencil factory rather than the original lynching tree, with a Confederate flag llying defeated across an upper level. This puts a subtle focus on the start of the drama rather than its fateful conclusion. Having the trial and cast emerge from the industrial shadow of the factory adds an element which favorably colors the entire show.

Other changes made by Mr. Hardie are equally compelling – putting Frank in the midst of the Confederate memorial Day Parade rather than having him look down from his office, putting the angry lynch mob into the house aisles surrounding us with their passionate outrage during “When the Flood Comes”, having the singers of “A Rumblin’ and a Rollin;” accompany themselves on household percussion instruments (washboard, broom, etc).

Ably supported by an outstanding cast, Musical Director Mark Schroeder and Choreographer Anna Galt create a musical world that compels and moves. This is difficult music, and the cast and chorus rarely stray from the expected harmonies and rhythms, with tightly choreographed group numbers reminding us that this is, indeed, a musical.

In the leads, Jason Meinhardt and Michelle Peck are a wonder. Ms. Peck is a rare find, a powerful actress with an equally powerful voice. Looking more like the original Lucille Frank than previous portrayers, she convinces in both the “spoiled rich Southerner” scenes and the “avenging spouse” scenes, and shows us the transition with the sensational “You Don’t Know This Man.” Mr. Meinhardt seems at first miscast, looking robust and attractive rather than scrawny and “funny-looking” like the real Leo Frank. Still, he’s not on stage for a full minute before his honest characterization convinces. He makes the role his own, and, by the time of the fateful climax, our sympathies are completely his.

In supporting roles, Patrick Hill, Don Goodner, Brandon Sartain, and Joe Arnotti create memorable portraits, both with their acting and singing. Tara Folio’s Mary Phagan is charmingly flirtatious and innocent, making us share the town’s outrage at her fate. If Edwin Watson’s Jim Conley is a bit too soft-spoken in his “book scenes,” his full-throated singing more than compensates. The ensemble, as well, is an asset to the production.

In fact, the only weakness is Blackwell’s technical stuff. Having worked with Blackwell’s equipment, this is where I do tend to “grade on a curve.” Small speakers uncontrolled from the booth occasionally lead to some unbalance between singers and orchestra, and unbalanced lights tend to distract. In particular, upstage areas were too dim, the Jailhouse gobo was too bright, and low lights downstage center tended to highlight crotches. On the other hand, use of footlights in some scenes were effective by casting appropriate shadows across the upstage wall, and the use of slide projections added some welcome historical perspective. Still and all, when one of us wins the lottery, maybe one of us can upgrade the technical resources, especially if Blackwell continues to produce shows of this quality.

In the final analysis, through, this is a conception and execution of the play that would work under work lights. This cast and director are good enough that the minute the play starts, we are in their spell, and that spell never fades until the final curtain call. Remember when I said my wife was left cold by the Broadway production? This time, she loved every minute of it.

This is definitely a “Parade” you don’t want to let pass you by.

-- Brad Rudy (

Afternote: This is a score that is not above ironic subtleties. Take note of the melody of Leo Frank’s final Hebrew prayer – it’s the same as the opening anthem to the glory of the antebellum south, “The Old Red Hills of Home.” It seems that at a basic musical leitmotif level, even outsiders are the same us “us.”

Delightful and thought provoking
by theaterislife
Monday, January 18, 2010
My husband and I took in the Saturday performance of Parade at Blackwell Playhouse. I've been to many shows at this venue and the only time I recall a nearly sold out performance was when we saw Music Man. I was familiar with the story of Leo Frank and Little Mary Phagan but not well acquainted with the actual show. This story is an intriguing look into what happened surrounding the trial as well as a glimpse of what may have happened.

Let me start out by saying, of all the performances I have seen at this theatre, I was simply blown away by the caliber of talent in this cast. Rob Hardie and his production team did an excellent job at casting Parade. The set was designed with a factory feel and was simplistic and functional. The lighting was good but could have stood more focus in certain areas but that is most likely an issue with venue. I appreciated the photos in the background during different points of the show (I don't want to ruin it so go see for yourself). The costuming was done correctly and thank goodness for that because I have a pet peeve with theatre's doing a show set in 1900 and the costumes look like they are from 1940. The band was excellent however the bass was too loud a majority of the time.

Michelle Peck as Lucille Frank and Jason Meinhardt as Leo Frank had amazing chemistry and their vocals were near perfection. Jason's portrayal of Leo was so heartbreaking at times I was captivated by him. Michelle's Lucille was strong yet vulnerable and she mezmorized me. Another performance I enjoyed was that of Leslie Bellaire as Iola Stover. Leslie's voice and tone quality was so pure during her song in the trial. Her vocal inflections mixed with her facial expressions brought life into her character for me.

Other stand outs in the cast were Lisa Hatt as Mrs. Phagan, her solo during the trial brought me to tears, Brandon Sartain as Luther Rosser and Edwin Watson as Jim Conley. To be honest I don't think there was a weak performer among the ensemble.

This performance left me spellbound and reignited my interest in this home town story. It saddens me that the run is so short and they are not performing on Fridays. Actually this Saturday and Sunday will be the last chance to see this amazing production. I don't think I have ever given a 5.0 but this is one production that deserves it hands down. Please take the time to go see this show. Blackwell has truly outdone themselves this time. BRAVO! [POST A COMMENT REGARDING THIS REVIEW]
We added another chance to see Parade! by tpatrickhill
ADDED SHOW of PARADE this Friday, the 22nd! It will be an industry night/ General Public. Members of The Atlanta Coalition Of The Performing Arts can have up to 2 tickets at $12 per ticket. They MUST show their Cards to get the discount! General public can purchase tickets at the regular price. Prior reservations cannot be changed.
Hard to believe
by shbinga
Monday, January 18, 2010
It's hard to believe that this was a community theater production. I was blown away by this show in every regard. Other reviewers have already mentioned some of the spectacular individual performances - Jason Meinhardt was wonderful throughout, even when he was merely sitting silent in his cell in the background. Michelle Peck brought just the right mix of strident power and delicate emotion to a difficulty role. Patrick Hill was both as funny as I've ever seen him and far more human. I can't think of an individual in the show who added a weak moment. And I'm usually pretty good at that.

Guess I should have started by explaining that I don't generally do reviews because I usually know folks in the cast and crew; it doesn't make me give glowing praise, I just figure they also know me and I tend to be a bit blunt. And I'm not a big fan of musicals in general; although Rob Hardie, who is a personal friend, previously committed the cardinal sin of making me actually enjoy CATS. Now with that out of the way, along with the obligatory notes on individual performances, let me tell you what I found to be truly impressive about this production:

It was the seamless, complete, imaginative and very real vision executed with a precision and joy that all too rarely co-exist. Leo's home, his office, the factory, the town square, the jail cell, the chain gang, the prison farm - all those locations and not a single scene change bigger than moving a desk a few feet or swinging out a barred door. And yet every location, just by lighting and who was standing where, was completely believable and appropriate. It almost made me cry. The dance numbers where amazing, particularly the courtroom number Come Up To My Office (sorry, I don't know the exact name of the song.) The expressions on the factory girls' faces as they became puppets of not Leo, but the image of Leo the prosecuter was presenting, were just one tiny touch on a masterpiece of work. The torch and pitchfork townsfolks disappearing up the aisle with their ad-libbed shouts fading into the distance as they left the theater was a sublime little detail. The combination of lights with alternate movement and freezing of the players created a space far more vast than could ever fit on that stage - it was truly bigger on the inside than on the outside. So yes, the music was wonderful, the comedy hit when it needed, the emotions were genuine, the performers all deserve kudos - but it was the attention to detail and the inticate way everything was fit together that made this show what it was. The musical director, coreographer, set designers and especially Brian Clements' lighting design are due an awed silence. But in the end, it was obvious that such a consistent production and crystaline vision had to be the work of a single man. Ok, it could have been a woman. But in this case it was a specific man, Mr. Rob Roy Hardie. Bravo. [POST A COMMENT REGARDING THIS REVIEW]
Just a thought. by nameless
After reading the guidelines I'm not sure this will get posted or not, but here goes. First of all let me state I have no idea who the reviewer is nor do I know the director. I just feel it is never a good plan to say "Rob Hardie, who is a personal friend" then then go on to say "it is obvious that such a consistent production and crystaline vision had to be the work of a single man ... Mr. Rob Hardie". It could make your review sound a little biased. I do agree that the direction was very good and that Mr. Hardie's direction along with the amazing talent of the actors, music director, voice coach, choreographer, the assistants, costumer, stage manager, lighting director, mucians, etc ... not to mention the writing of the play, music and lyrics brought this wonderful production to the stage. Without one part of this production being as good as it was the whole could not have been as great as it was. Just a thought.
Thanks for the thought by shbinga
As it happens, Rob is a friend and I meant that as a disclaimer. I'm sure that quite a few folks here and in the show do know who I am, it isn't hard to figure out. But that doesn't mean my review was biased - I'm friends with many actors, directors, producers etc in the area, and if I err at all (and Rob would likely agree) it is in the other direction. I can be a bit harsh. Which is why I rarely write a review. And you are right, if one little thing of the multitude of wonderful aspects of this show hadn't been there, it would not have been the same show. That, after all, is the director's job and kind of my whole point. Not to take a thing away from any of the individual accomplishments, only to point out the phenomenal job of bringing and holding them all together and to a single vision.
Thank You, shbinga by nameless
Thank you for your clarification. I read reviews here frequently and based on them attend shows. But, I am always a little hesitant if the show is really as good as is stated if the reviewer has said he/she is a friend with the director/actor/musical director/etc. I appreciate the disclaimers, but am still a little hesitant.
Second Time's the Charm
by Sweet Babboo
Sunday, January 10, 2010
Back in 1998, my husband and I attended the Broadway production of "Parade" at the cavernous Lincoln Center. The multi-million dollar production directed by the legendary Harold Prince was colossal and slick...and utterly unmoving to me. At the time, neither the score by Jason Robert Brown, book by Alfred Ulry, nor the "Tony-caliber" performances failed to wow me when it should have. The most distinctive factor of the production I recall was the ominous backdrop of an enormous oak tree that stayed constant throughout the entire show. I recall joking with my husband that instead of a tree, it should have been The Big Chicken (A bad joke on my part, referencing the close proximity of the Leo Frank lynching to the now-famous Marietta landmark). Forgive me, but we hadn't moved to Marietta yet and, frankly, this show is not exactly a travelogue on how Southerners treat Yankees who relocate to Georgia. Perhaps the only lasting thing that the Broadway production gave me was a genuine interest in the Leo Frank/Mary Phagan murder case of 1913 that has lasted over a decade. The century-old true story alone is fascinating without the help of show tunes and big splashy production numbers.

Flash forward 12 years later. I willll admit that since I was not bowled over by "Parade" on Broadway the first time around, I did not know what to expect with Rob Hardie's production at Blackwell. Although, I consider Mr. Hardie one the best musical directors working in Atlanta today, I didn't know if the production would once again leave me cold and unmoved.
What can I say? This production hooked me from the opening number of “The Old Red Hills of Home” and held me spellbound throughout the evening. Rob Hardie has once again managed to enthrall his audiences with the magic and raw power of good storytelling. Maybe it is because of the far more intimate nature of Blackwell Playhouse that made Leo Frank’s tragic tale of injustice far more compelling this time. I opening cried at least three times during Act One alone. It’s a shame for Blackwell that this show is not MAT eligible this year. Thanks to Rob Hardie’s superb direction, it would have swept the awards.

After his brilliant performance last year in “Man of La Mancha”, I sort of expected Jason Meinhardt to knock my socks off again as the wrongfully maligned Leo Frank. Once again, Meinhardt delivers the goods in spades. Although, Meinhardt does not resemble to real Frank physically, he embodies all of Frank’s nervous insecurity of being a Yankee Jew in the Bible belt; an outsider even to his own native-born wife, Lucille (Michelle Peck). Meinhardt vocal strengths and fine acting allow us to see Frank’s transformation from a distant, workaholic nebbish to a bold and passionate force of nature. Jason Meinhardt has quickly established himself as one of the finest musical actors working in Atlanta today. Already a two-time MAT award winner, I only wish his inspired Leo Frank performance could earn him a well-deserved third trophy.

As Frank’s Southern Aristocrat wife, Lucille, Michelle Peck is nothing less than a gem in another powerhouse performance. She looks and sings like an angel. Yet, her inner strength as Lucille shines through with her solo “You Don’t Know this Man”. Her scenes with Meinhardt are amazing as the mismatched couple realize almost too late the deep, unshakable love they discover for each other only after the guilty verdict was passed. Michelle Peck is a marvelous welcome to the Atlanta theatre community and I hope to see her in many more future productions.

The entire supporting cast is also first rate. Fabulous performances include; Don Goodner as the ambitious and ethically-challenged D.A. Hugh Dorsey, Patrick Hill as the brash Atlanta Constitution reporter, Britt Craig, Brandon Sartain as Frank’s blowhard good ol’boy attorney, Luther Rosser, Brad Dickey as the always charming Governor Slaton who decides to choose his conscience over his political ambitions., Edwin Watson as the sly, conniving Jim Conley (long believed to be the real killer of Mary Phagan) and Gary Heffelfinger as racist demagogue , Tom Watson . Special kudos also goes out to Lisa Hatt as Mrs. Phagan. There isn’t a dry eye in the house as Ms. Hatt sings her haunting ballad “My Child Will Forgive Me” about how life’s cruel circumstances led her to send her precious young daughter to work in the downtown Atlanta pencil factory and ultimately to her untimely death.

The appropriately grim unit set design by Matt Fino and Becca Hardy is wonderfully utilized throughout the evening. Brad Dickey pulls double duty as the costumer and captures the early 20th Century period nicely. Mark Schroeder does a great job as Musical Director as he managed to do the impossible; make Brown’s score highly memorable for me this time. The hidden five-piece band sound like a full orchestra, which is a marvel unto itself.
I never thought I’d say this but “Parade” is an unforgettable night in the theatre. Hardie’s scaled-down, intimate production in ten times more entertaining and riveting than I ever imagined it could be. It’s not exactly perfect. There were some opening night technical flubs that can happen in any show and the lighting equipment at Blackwell is somewhat limited. But I highly recommend that you trek out to Marietta to catch it before it closes. You won’t be disappointed.

Now if Rob Hardie ever wanted to take a stab at “Carrie, The Musical”, I’d be first in line for a ticket.

Additional Kudos by playgoer
"Parade" is one of those wonderful shows where the cast is good across the board and where all aspects of the production come together to aid its impact. In addition to the praise offered above, I'd like to note the excellent choreography of Anna Galt and the effective lighting design of Brian Clements. Both helped to bring out the desired effects at various points in the production.

Two performances that particularly impressed me were Leslie Bellair as Iola and Joe Arnotti as her sometime beau Frankie Epps. Their performances embodied their characters throughout the production, even when the focus wasn't on them. I only wish Mr. Arnotti had shaved before the performance I saw, since the stubble he sported made him look older than appropriate for his character and harmed the period effect provided by his costume.

I am distressed that the program I received did not include any writing credits for the show. While the actors spoke their lines ably, the words were scripted by Alfred Uhry. The songs were enhanced by the great percussion of Trip Cox and the keyboard artistry of Annie Cook and Mark Schroeder, but the songs were created by Jason Robert Brown. This production could not be as effective and moving as it is without the creative powers behind the work. Give credit where credit is due!
One Unsolicited Opinion by TheatreJock
Congratulations to Blackwell for its production of "Parade". Haven't seen their production, but saw it at the Fox a few years ago and it is a powerfully written and composed musical.

A comment concerning's Playgoer's concern about proper writing credit in the program. Not only is giving authors, composers and lyricists proper credit a matter of integrity, it is also specifically outlined in the licensing contract which gives theaters the right to perform the work. Such contracts dictate how credit is given, including the size of type used in programs and all publicity material. If it was merely an issue of oversight or proofreading a program, that's understandable--but would be to Blackwell's credit to correct the oversight by reprinting their programs for the remainder of the run.
Program error by DirectorRob
I apologize for the program error. All of our advertising and such has the names prominently displayed. I am told that this was on accident, and is being corrected for the remainder of the run. Our apologies again.
the unsung hero of this production by Okely Dokely
I have to take a moment to thank and acknowledge Hayley Tanner for stepping up and helping me out with the music directing duties during this process. I have been going back and forth between Parade and another show which runs in February that I'll be in, and Hayley has been an absolute life-saver. She's got my nomination for sainthood.

Just wanted to give props to a very under-acknowledged member of our creative team. Thanks for all the reviews and comments.
Blackwell Playhouse's Musical "Parade"
by Occasional Theater Patron
Sunday, January 10, 2010
I am familiar with the Leo Frank case, but have never seen Parade. Blackwell Playhouse's performance of this musical is outstanding. The costumes, ranging from the Civil War to World War I, are spectacular, as is the set. A stellar performance once gain by Jason Meinhardt as Leo Frank (past winner of MAT awards as best actor for Don Quixote in Man of La Mancha and as best supporting actor in Little Shop of Horrors). Outstanding performances by Michelle Peck as Lucille Frank, Patrick Hill as news reporter Britt Craig, Don Goodner as prosecutor Hugh Dorsey, Joe Arnotti as Mary Phagan friend Frankie Epps, and Lisa Hatt as Mrs. Phagan. Solid performances by Tara Folio as Mary Phagan, Edwin Watson as Jim Conley, Brandon Sartain as Frank defense attorney Luther Rosser, Brad Dickey as Ga. Gov. John Slaton, and Gary Heffelfinger as Tom Watson, and the Ensemble. The actor who played Newt Lee was also solid. The acting and music performances were all superb. The band was fantastic, as was the lighting. There is not a weak part of this musical production.

Scenes that are particularly noteworthy are the opening scene and Confederate Memorial Day 1913 (The Old Red Hills of Home), the funeral and burial of Mary Phagan, the trial of Leo Frank, and the Finale, all performed by the Ensemble. [POST A COMMENT REGARDING THIS REVIEW]


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