On Broadway, ‘Suffs’ Has a New Tune (and 6 Tony Nominations)
Two ambitious overhauls are on Broadway right now: the Palace Theater and the musical “Suffs.”
When “Suffs,” a show about the suffragists’ crusade for the right to vote, staggered to its Public Theater premiere in April 2022, few people would have bet that it had much of a future. Yet here we are with “Suffs” on Broadway, where it received generally positive reviews and six Tony Awards nominations, two for Shaina Taub’s score and book.
What happened? The director Leigh Silverman (who also received a Tony nomination) recalls struggling with supply-chain issues and having to cancel 18 performances, including opening night. “No theater maker, no artist of any kind I think anywhere was able to do their best work in any circumstance coming out of Covid,” she said.
Silverman and Taub (who also portrays the suffragist Alice Paul) said they immediately began tinkering. “We were working on it before it was even closed,” Silverman said in a joint interview in Taub’s dressing room at the Music Box Theater. Taub, laughing, added: “Sometimes people are like, ‘Oh, you went back to the drawing board.’ But we never left the drawing board.”
The original score has been whittled down from 38 songs to 34. But numbers are a poor indicator of the extensive renovation that took place in the past two years (some songs have the same title but different lyrics, for example). Here are five ways “Suffs” changed on its journey to Broadway.
More book
“The biggest substantive formal change has been book,” Taub said. While the show’s earlier version was essentially sung-through, the story was so dense with historical material that she realized she needed spoken scenes to “tee up” the songs, as she put it. Taub revisited some of her favorite book musicals, like “Ragtime” and “Into the Woods,” to study how they handled those passages. One of the most apparent changes in “Suffs” is the number “The Young Are at the Gates.” Taub described the first version, which previously closed Act I, as “a 12-minute sung-through odyssey”; now it opens Act II and incorporates brief book scenes. “I felt free, finally, of the confines of having to musicalize everything,” said Taub, who called book writers “the unsung heroes of the American musical.”
