Monica Tulia Ramirez as Inez Milholland and the “Suffs” Company. Photo by
First National Touring Company of “Suffs” is currently making its stop at The Hippodrome Theatre and it is a must-see. The musical was written by Shaina Taub (also the original Alice Paul) who won two Tony Awards for Best Original Score and Best Book of a Musical, as well as an Outer Critics Circle Award and a Drama Desk Award. Based on women’s battle for the right to vote in the United States, it focuses on the big push, from 1913 to 1920, when the the 19th Amendment was finally ratified thanks to one state’s vote and one mother’s plea.
…a must-see…a fast-paced and often breathtaking theatrical event…glorious and exhilarating.
“Suffs” is short for suffragists (although you learn that the term “suffragette” was coined to belittle the work of these women). Though these are fictionalized versions of the prominent women in the fight and the story is simplified for dramatic purposes, it does not take away from the real struggle and sacrifice for women to attain the right to vote, a movement that began in the 1800s. It also shows the internal, emotional battles of the women themselves and the conflicts among each other about the strategy to attain their goal, including the inclusion of Black women and their added burden of racism. This all-female musical is a fast-paced and often breathtaking theatrical event. It is performed by an incredibly talented cast and ensemble.
The brilliant work of the creative team is lead by director Andrea Grody, choreography by Mayte Natalio, and musical supervision by Andrea Grody. The sets by Tour Scenic Designer Christine Peters are simple, yet grand and massive, and coupled with the effective lighting design by Lap Chi Chu, it gives the sense of the gravity of the moment in time. Paul Tazewell’s costume design is, as expected, spot on, with great attention to detail. Everyone involved in this production deserves high praise.
“Suffs” opens with yet another National American Woman Suffrage Association (NAWSA) conference with long-time leader, Carrie Chapman Catt (Marya Grandy), an acolyte of Susan B. Anthony, making the plea to let the women who bore and raised you (men) vote (“Let Mother Vote”). A young firebrand, Alice Paul (Maya Keleher), arrives on the scene. Impatient at the slow progress, she suggests a march on Washington the same day as President Woodrow Wilson’s inauguration. When Catt objects, going for the continued slow, steady, and genteel approach, this sets up a rivalry between the old guard and new. Paul gets her own group together consisting of her college friend, Lucy Burns (Gwynne Wood); the socialite Inez Milholland (Monica Tukia Ramirez); a Polish union organizer, Ruza Wenclawska (Joyce Meimei Zheng); and a timid, college student from Nebraska, Doris Stevens (Livvy Marcus), who will be their secretary and record their journey.
The issue of the Black women’s place in the march—due to the objection of the Southern delegations—introduces two leaders of the Black women’s movement—an uncompromising Ida B. Wells (Danyel Fulton) and her friend, Mary Church Terrell (Trisha Jeffrey) with her daughter, Phyllis Terrell (Victoria Pekel). Wells and Terell are the Black counterparts to Catt and Paul in their approach to the cause. When Paul suggests the compromise of setting the Black delegation apart, essentially a “back of the bus” solution, Wells delivers a powerful rebuke in “Wait My Turn.” Despite some violent attacks, all the women successfully complete the march, with Milholland leading the way on horseback. The musical is not all seriousness. There are many moments of levity, notably when the ladies turn an insult into a badge of honor (“Great American B*tch”).
President Wilson (Jenny Ashman) proves to not be a good character in this situation and eventually gives in only when it is politically advantageous. World War I also proves to be another barrier. However, his chief of staff, Dudley Malone (Brandi Porter), is moved to the cause, not only by the questionable actions of his boss, but Doris’ convincing argument (“If We Were Married”) and his growing affection for her.
Another force in the movement is Alva Belmont (Laura Stracko), also a socialite, with a Mae West flair. She moves her support to Paul’s National Woman’s Party (NWP), formed after Paul is kicked out of the NAWSA. Even Catt’s partner, Mollie Hay (Tami Dahbura) breaks with her at one point. The group endures personal sacrifice, the loss of a member, and prison. While others are released (and eventually Paul), Paul suffers brutal treatment in jail by the matron, Mrs. Herndon (Gretchen Shope), and Dr. White (Marissa Hecker) who threatens commitment per a directive of Wilson.
While Wells and Terrell know that Black women, especially in the South, still have an uphill battle despite the amendment, the various ladies mend their differences and celebrate their victory. They see themselves reflected in those that follow and continue the battle. It is a reminder, especially in the current social and political environment, that the fight for the full rights of all women is not over (“Keep Marching”) and, sadly, in some cases, going backwards. Despite some inaccuracies and omissions, “Suffs” is glorious and exhilarating and makes you want to learn more about the women’s suffragist movement. This story inspires continued hope and determination.
Running Time: Two hours and 30 minutes with one intermission.
Advisory: Recommended for ages 10 and up. Children under the age of 5 are not permitted in the theater. Strobe or flashing lights are used in this production.
“Suffs” runs through May 31, 2026 at 12 North Eutaw Street, Baltimore, MD 21201. For more information and to purchase tickets, please visit the Box Office Monday through Friday from 11 am to 3 pm, or on performance days from 11 am to curtain, or go online.
