‘Suffs’ at Playhouse Square Encourages Audiences To Keep Marching

For a theater production to leave an impactful, lasting impression, it’s often essential that the message of the show feels relevant to the time in which it’s being produced. Although we may not wish it to be so, the message that fuels the story of “Suffs,” a passionate musical about the women’s suffrage movement and quest for equality, is heartwrenchingly relevant in 2026.

“Suffs,” with music, lyrics and a book by Shaina Taub, begins in 1913 at the National American Woman Suffrage Association (NAWSA) Convention, where Carrie Chapman Catt (Marya Grandy) has just delivered a speech advocating for women’s suffrage. Although inspired by NAWSA’s work, the young, ambitious Alice Paul (Maya Keleher) is frustrated by the movement’s slow progress. With the help of her college friend Lucy Burns (Gwynne Wood), labor organizer Ruza Wenclawska (Joyce Meimei Zheng), socialite Inez Milholland (Monica Tulia Ramirez) and writer Doris Stevens (Livvy Marcus), Alice organizes a march in Washington on the day of President Woodrow Wilson’s inauguration.

On their journey to passing the Nineteenth Amendment that will ultimately allow (some) women to vote, the suffragists must overcome a president who refuses to support their movement publicly, infighting over the correct way to campaign, tensions fueled by improper racial inclusion and exhaustion caused by what feels like a relentless crusade for equal rights.

“Suffs” premiered off-Broadway at The Public Theater in April 2022, just months before the Supreme Court overturned Roe v. Wade. It opened on Broadway two years later, launched a National Tour in 2025 and is now stationed at Playhouse Square’s Connor Palace for the month of February.

Despite being written only a few years back, the show is in many ways a good, old-fashioned musical. It follows a tried and true structure and utilizes common platitudes of musical theater. While it may feel familiar, the relevance of “Suff’s” messaging combined with talented performances makes for a solid, entertaining show that will resonate with multiple audiences–it is difficult to imagine that even those who are not active in political or social issues will walk away uninspired.

“Suffs” takes some artistic liberties in its retelling of the stories of famous suffragists, but as an introduction to–or reminder of–the leading ladies who pursued voting rights, it is commendable. Writer Taub presents these women as flawed heroes. The show recounts moments of strength, such as when hunger-striking women were brutally force-fed by prison officials or when marchers pushed through violent adversaries seeking to stifle their movement. It also acknowledges some of the ways that the movement failed women of color and how disagreements between organizers hindered forming a united front.

The musical utilizes a whopping three dozen songs to tell these stories. All of the numbers are well-performed by an unquestionably talented cast, but even so, the sizable score means that songs begin to blend together. Some of the most memorable numbers are the emotional, passionate ballads delivered by Keleher and Grandy as the leaders of the women’s voting movement, as well as the songs featuring Black activists Ida B. Wells (Danyel Fulton) and Mary Church Terrell (Trisha Jeffrey).

Actresses Wood, Zheng, Ramirez and Marcus provide ample personality as Alice’s fellow National Woman’s Party suffragists. It’s no surprise that the song “Great American Bitch,” in which the women reclaim the insult, is a crowd pleaser.

Women, including those who identify as queer, dominate the cast, filling even the roles of historic men like Woodrow Wilson (Jenny Ashman) and his chief of staff, Dudley Malone (Brandi Porter). While Ashman and Porter give charming performances, the men of the show tend to come off as silly. President Wilson is especially caricature-esque, and while it results in a few laughs, he fails to serve as a serious representation of a very real barrier that actively shelved efforts for equality.

When it comes to production values, the costuming by Paul Tazewell takes precedence: meticulous detail adorns the shapely bodices, full skirts and colorful sashes worn by the suffragists. Less robust by far is Christine Peters’ set design. A couple of stylish walls serve as the backdrops for various offices and homes. The stage is also bordered by tall columns reminiscent of those adorning the White House.

Aside from a singular cloth backdrop of the Washington Monument–which was rife with wrinkles–the show relies heavily upon a scrim. This backing gauze is lit in all manner of colors by designer Lap Chi Chu. It provides simple drama, but it can also make the stage feel vast and render the minimalistic set lacking.

The show was nominated for six Tony Awards, winning Best Book and Best Score. While the songs may not be earworms that you’ll find yourself humming the morning after your attendance, they serve as effective vehicles to deliver “Suff’s” impassioned messaging. “Keep Marching,” the finale song that is delivered with electrifying choreography by Mayte Natalio, is so rousing that dry eyes are not guaranteed.

The hope is that one day our great-granddaughters might watch “Suffs” and view it through a different lens, one where they can admire the historical figures who fought for equal rights without having to ask, “How is it possible that we have come so far but still feel as if we are slipping backwards?” Until then, as the characters of “Suffs” encourage in their last song, we keep marching.

“Suffs” runs through Feb. 22, 2026, at Playhouse Square,1501 Euclid Avenue, Cleveland. Visit playhousesquare.org or call (216) 241-6000 for tickets, $47-$139.

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