Review by Jennifer Mustoe, Front Row Reviewers
Broadway Across America at The Eccles Theater in Salt Lake City gifts us SUFFS, a musical with a message and a promise for us that, frankly, we need now. As the simple purple curtain lifts, we are introduced to a group of suffragists (Suffs) who reinvented activism regarding women’s rights. In those first few moments of SUFFS, we feel the shift that’s more than a hush. It’s a silent scream.
In the first number, “Let Mother Vote”, its jolly, snappy tune is counterpoint to the message: Women need the Vote! Women raised the country’s citizens, so they need a say in how the country is being run. They need power. A seat at the table. They need equality. A tense meeting between two strong women whose lives are dedicated to women’s equality begins the show. Carrie Chapman Catt, 53, a protégé of Susan B. Anthony, the world famous leader of the American woman suffrage movement, played by Merrill Peiffer represents a standard type of protest by persuasion, quiet insistence, and tenacity. Twenty-seven–year-old activist Alice Paul (Maya Keleher) is headstrong with bold ideas who insists that change must be big and happen immediately. Catt is a waning past, Paul is the future, as shown in “Finish the Fight.” These two characters are perfectly cast in every wit. Peiffer’s glistening notes hit the ceiling and beyond, an exquisite angel sending her message. Keleher stands on the solid ground of today and the future, and breathes and bleeds her character with so much precision, I could feel her ferocity and commitment.
And so we are asked the question, how best to conquer treachery, abuse, neglect, inequality? Small, structured steps? Or bold, large, loud marches?
In “Find a Way”, driven with purpose, Paul organizes a march on Washington, D.C. on inauguration day, sending a message to President Woodrow Wilson (Marissa Hecker) that he must back the suffragists with a federal amendment. Paul asks college friend Lucy Burns (Gwynne Wood), socialite Inez Milholland (Monica Tulis Ramirez) and Polish labor organizer Ruza Wenclawska (Joyce Meimei Zheng) to help organize the march. Nebraska college student Doris Stevens (Livvy Marcus) becomes their secretary and joins the group. The lyrics in “Find a Way” resonate with me: “How will we do it when it’s never been done? How will we find a way where there isn’t one?” And then, with dedicated women banding together– a way is found. Hecker as Wilson gives his “yes man” character equal shots of sleaze and feigned compliance. Meaning: successful politician. Zheng as Wenclawska is filled with fervor, flavor, and flamboyance. Wood as Burns is delightful–spunky and funny. Ramirez as Milholland commands an energy and love for life that fills the stage. This was clearly a woman who got things done and did so with a strong message as shown with gusto in “Great American Bitch.” One of the key issues in SUFFS obviously is freedom, and racism plays a key role in this musical. Danyel Fulton plays Ida B. Wells (an American investigative journalist, sociologist, educator, and early leader in the civil rights movement) brings conviction and passion to the discussion–Fulton is marvelous in this role.
Romance was at the edge of SUFFS, and the topic of marriage and family is never far from the conversation, and not always in a positive way. One rather adorable match up is between Wilson’s Third Assistant Secretary of State Dudley Malone (Brandi Porter) and Doris. Porter’s Malone is an upbeat, energetic fellow, but keeps the character in check. In a show that is rather hard-hitting in its themes and storyline, this little romance bounced the show out of seriousness. Creator (lyrics, book, music) Shaina Taub has infused much comedy and tenderness as well as intense storylines into SUFFS. This is a strong show, but a fun one at times, as well.
Paul Tazewell’s costumes show as interesting and detailed “uniforms” which define the characters. The clothing is lovely or proper or miserable, depending on the scene. But the colors are representational of the storyline and that’s what affected me most. The slice of purple on the costumes of the suffragist women looks regal. The gray, worn costumes of the women in jail cry out their pain.
Lighting by Lap Chi Chu seems almost like a character itself. Much use of backlighting to show silhouettes becomes a theme that identifies individuals as well as the group as a whole. The contrast of shadow and bright white is effective. This is a show about a community, but the lighting shows us that this group of people are themselves individuals as well. Jason Crystal’s sound design is sharp, clean, and well-executed. Christine Peters’ Tour Scenic Design is effective, inventive, and not overdone. The characters stand out in the space and aren’t overwhelmed on a too busy set. And the horse… It is a character itself, as well as an excellent piece of design. (Inez Milholland wanted to lead the march on a horse and they found her one– a tall, white gelding. Of course, you needed to put that into your set design. Thank you, Ms. Peters!)
Orchestra members: Conductor/keyboard 1/Music Director Dani Lee Hutch, Associate Conductor/keyboard 2 Kerianne Brennan, Acoustic and Electric bass Edward Hamilton, and Drums Daniel Santiago bring us a remarkable array of music and voices and styles into one beautiful production. Music Supervision by Andrea Grody perfects the sounds and tones and songs effortlessly. The harmonies in this musical are numerous and lend a melodic/discordant quality that is delightful and haunting, respectively. What I hear most in my mind as I write the review are the beautiful, strong feminine vocals that filled the theater. Choreography by Mayte Natalio gathers a group of characters, all so particular and varied and the movement and choreography that is created is substantial, compelling,, and meaningful. Director Leigh Silverman has given us a stunning tableau showing remarkable characters sharing an essential story. The directorial choices given afford us the opportunity to see things perhaps differently than we might not have. Silverman has used a precise, important touch to portray the stories in SUFFS.
People of all ages, even young children (mostly girls) attended SUFFS last night. The energy was tight, at times hopeful, sometimes entertained, but throughout the performance, there was an undercurrent of need, of passion, of urgency. I graduated from high school in 1976. The National Organization for Women (NOW), founded in 1966 and the passing of the Equal Rights Amendment (ERA) in 1972 were often in the news. I could feel something happening that would impact my life and especially the lives of the women and girls in the United States forever. As I watched SUFFS last night, it was clear that essential causes such as women’s suffrage are carried on the shoulders of political movements of the past and carried into the present and future.
SUFFS, playing at the beautiful George S. and Dolores Doré Eccles Theater until Sunday, is a must see. So often art, and in this case, theater not only imitates life, it can define it, refine it, and redesign it. SUFFS is just such an art offering and to say it is relevant today is an absolute truth, and you can take that to the box office and perhaps the ballot box, too.
Broadway Across America and The George S. and Dolores Doré Eccles Theater present SUFFS, by Shaina Taub.
The George S. and Dolores Doré Eccles Theater, 131 Main St, Salt Lake City, Utah 84111
November 11-16, 2025 Dates and times vary
Tickets: $69.94 and up Tickets are available at the Eccles Theater box office, 131 South Main Street, SLC, UT 84111, or by visiting saltlakecountyarts.org/events (use this official link only) or by calling 801.355.2787 (ARTS)
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