"Suffs"
Fisher Theatre
Detroit, Mich.
Through April 26
The only Broadway musical that truly ever made me cry was “Les Misérables.” That was until tonight, when I found myself sobbing throughout “Suffs” during the national tour’s Detroit stop at the Fisher Theatre.
These were frustrated and cathartic tears from a show about the fight for women’s suffrage, a significant victory but only one in a war for women’s rights that never seems to end. Created by Shaina Taub – and produced by Metro Detroit native Rachel Sussman – the show was nominated for six Tony Awards in 2024, taking home Best Book of a Musical and Best Original Score.
The musical, inspired by Doris Stevens’ memoir “Jailed for Freedom,” recounts the struggles of the women’s suffrage movement in the final years before the passing of the 19th Amendment in 1920, which allowed women the right to vote. Led by Carrie Chapman Catt, the conservative, elderly president of the National American Woman Suffrage Association, the show opens in 1913 with “Let Mother Vote.” The song politely asks men to grant women the vote – an ask that has been ignored for over half a century.
We soon meet our lead Alice Paul, a fiery young suffragist with a more aggressive – and unwelcomed – approach to achieving the vote. She breaks off to organize the Woman Suffrage Procession march on Washington D.C., joined by Inez Milholland, Lucy Burns, Ruza Wenclawska and Stevens. We follow the women over the subsequent seven years, as they overcome dismissal, harassment, imprisonment, exhaustion, and self-doubt to reach their goal.
“Suffs” shines light on an important part of American history that most of us know little about or fully appreciate. It’s a fascinating portrait of a band of colorful women and the sacrifices they made on behalf of the women who came before them and the women who will come after. It’s a reminder of the tremendous amount of energy, determination and time it took to get a right that most of us take for granted in 2026.
But “Suffs” isn’t just a clear battle of unified women vs. the patriarchy. We see the challenges faced within the movement – the old guard vs. the new in a question of whether to politely stay the course of asking nicely or to demand immediate change at the risk of losing everything. It also highlights the intersectionality of the challenges faced by Black women, torn between wanting to advocate for their sex while also combatting racism with their supposed allies. It’s another question of whether to stay the course and wait our turn, or demand immediate equal rights on all levels. Even when the 19th Amendment is passed, the Black women acknowledge the victory benefits White women while their vote will still be suppressed because of their race.
The music is a powerful and often humorous rallying cry. It is not quite as catchy as “Newsies” but it carries the same sentiment of the oppressed fighting the oppressor. “If We Were Married” is a comedic and eye-opening song from a budding couple about the imprisoning realities of marriage for women. As the man sings about how he would cherish his new wife, protect her and provide for her, she counters that marriage would strip her of her legal autonomy, her ability to own property and right to control her own money. “Great American Bitch” is a celebratory song that reclaims the word used to denigrate strong, assertive women who refuse to comply with oppressive social norms. “Fire & Tea” leans into the history of deeming and murdering such women as witches, with a coven-like dance as they set an effigy of President Woodrow Wilson on fire (which I would have liked to see burn longer).
The all-female cast is led by Maya Keleher as Alice with powerful vocals and an unrelenting spirit. Each actress captures a unique, significant figure in American history whose names we should all know – and the show is a great way to learn.
As we know, the right to vote was not a final victory in achieving equal rights between the sexes. More than 100 years later – and as we celebrate the 250th anniversary of the United States – the patriarchy remains alive and well. Women continue to be objectified and seen as inferior. Just this month, news broke to reveal a website – with 62 million monthly visits – that teaches men how to rape women, and two congressmen resigned after allegations of sexual misconduct. Last month, Netflix released “Louis Theroux: Inside the Manosphere,” a documentary about the awful men behind the “Red Pill” podcasts that are filling the heads of lost young men with misogyny.
Although “Suffs” made me cry, these tired, scared tears are pissed off and more motivated than ever to destroy the patriarchy. It comes at a perfect moment to remind women of what we’re capable of and the work that still needs to be done.
