Suffs Review: The Revolution You Didn’t Know You Needed
There are shows you enjoy, and then there are shows that completely take hold of you and refuse to let go. Suffs is that kind of show. My introduction to it was anything but traditional. I stumbled across a post from Jenn Colella mentioning a project she had been working on that was transferring from Off-Broadway to Broadway. At the time, there was very little to go on. No cast album, minimal marketing, and no real sense of what the show would become. Curiosity got the best of me, and on my next trip to New York, I decided to take a chance on preview tickets. From that moment on, I was completely hooked. It was the kind of experience that lingers, the kind that makes you want to see it again immediately. A few months later, I did exactly that, flying back to New York with my mom and sister so they could experience it too. So when the show won at the Tony Awards and announced a national tour, my excitement was immediate. Expectations were high, and this touring cast delivered in every way.
[Warning: spoilers from Suffs are below!]
Suffs centers on the American women’s suffrage movement, but it never feels like a history lesson in the traditional sense. Instead, it feels immediate and strikingly relevant. The story follows Alice Paul, portrayed on tour by Maya Keleher, as she pushes relentlessly for women’s right to vote. Around her are figures like Carrie Chapman Catt, Ida B. Wells, Lucy Burns, and Inez Milholland. What makes the show so compelling is that it does not smooth over the complexities of these relationships. These women did not always agree, and the show leans into that tension. It explores the divides within the movement, particularly around race and strategy, in a way that feels honest rather than performative. The result is a narrative that feels layered and deeply human rather than polished and simplified.
The incredible cast of Suffs
The performances across the board are exceptional. Maya Keleher’s Alice Paul is driven to the point of exhaustion, yet there is something magnetic about her determination that makes it impossible to look away. Marya Grandy as Carrie Chapman Catt offers a striking contrast, embodying a more measured and strategic approach to change. Rather than feeling like an opposing force, her performance adds depth, showing that progress often requires multiple approaches working in tension with one another. Danyel Fulton as Ida B. Wells delivers one of the most emotionally grounded performances of the night. Her presence adds necessary weight to the story, particularly in moments that call attention to who was left out of the movement’s victories. Gwynne Wood as Lucy Burns and Monica Tulia Ramirez as Inez Milholland add both fire and charisma, while Joyce Meimei Zheng as Ruza Wenclawska provides sharp humor that cuts through the heavier moments. Livvy Marcus as Doris Stevens adds emotional steadiness, and Jenny Ashman’s portrayal of President Woodrow Wilson offers a pointed, often satirical counterbalance to the suffragists’ fight.
The score by Shaina Taub is where the show truly cements itself as something special. When I first saw Suffs, there was no cast album, no way to revisit the music outside of memory. Now, songs like “Great American Bitch” and “Keep Marching” feel essential to the show’s identity. The music does not rely on spectacle or overly complex arrangements. Instead, it leans into storytelling with precision and purpose. “Great American Bitch” is bold and unapologetic, reclaiming language that has historically been used to diminish women. “Keep Marching” serves as a powerful throughline, tying together the themes of persistence and progress. Even quieter numbers like “Wait My Turn” carry a weight that builds gradually, leaving a lasting impression. Every song feels intentional, with no wasted moments or unnecessary filler.
The focus remains on the message
Visually, the production takes a more restrained approach, and it works in its favor. Rather than relying on elaborate set pieces, the staging keeps the focus on the performers and the story itself. Transitions are fluid, with scenes moving seamlessly into one another, reinforcing the idea that this movement was ongoing and relentless. There is a sense of momentum that carries through the entire show, building steadily until it becomes impossible to ignore. The simplicity of the design allows the emotional and narrative stakes to take center stage, which ultimately makes the experience more impactful.
What makes Suffs resonate so deeply is its ability to connect past and present without feeling forced. The show does not present the passage of the 19th Amendment as a neat or complete victory. Instead, it acknowledges the limitations of that progress and the unfinished work. This perspective adds a layer of complexity that elevates the entire production. There is a moment near the end that reframes everything you have just watched, serving as both a reflection and a challenge. It is subtle but powerful, underscoring that the fight for equality is ongoing.
Going into this touring production, I had a lingering concern that the magic I experienced during those early preview performances might not translate. Instead, what I found was a production that feels even more confident and refined. The themes feel sharper, the performances feel more grounded, and the overall impact feels even stronger. Suffs is not just a musical you watch and move on from. It is one that stays with you, prompting reflection long after the final curtain.
The verdict of the North American touring production of Suffs
If you have been considering seeing Suffs, this is the moment to do it. It is a show that manages to be both entertaining and thought-provoking, blending powerful performances with a story that feels as relevant now as ever. For those who took a chance on it early, there is something especially rewarding about seeing it reach a wider audience. For everyone else, it is an opportunity to experience a production that does more than tell a story. It invites you to think, to feel, and most importantly, to keep moving forward.
Suffs closes at the Fisher Theatre on April 26, so get your tickets now before it’s gone! Have you seen this production yet? What did you think? Share your thoughts on social media and tag @bsb.insider to keep the conversation going!
Exclusive Interview: Abigail Aziz of Suffs
