Review Roundup: SUFFS North American Tour

The North American Tour of SUFFS, the empowering and acclaimed Tony Award-winning musical, is now underway! Read the reviews as they come in here.

Created by Shaina Taub, the first woman ever to independently win Tony Awards for Best Book and Best Score in the same season, SUFFS boldly explores the triumphs and failures of a struggle for equality that’s far from over. 

The tour cast features Maya Keleher as Alice Paul, Danyel Fulton as Ida B. Wells, Marya Grandy as Carrie Chapman Catt, Jenny Ashman as President Woodrow Wilson, Monica Tulia Ramirez as Inez Milholland, Gwynne Wood as Lucy Burns, Joyce Meimei Zheng as Ruza Wenclawska, Livvy Marcus as Doris Stevens, Trisha Jeffrey as Mary Church Terrell, Brandi Porter as Dudley Malone, Laura Stracko as Alva Belmont/Phoebe Burn, Tami Dahbura as Mollie Hay, and Victoria Lauren Pekel as Phyllis Terrell/Robin.

Rounding out the company are Abigail Aziz, Ariana Burks, Annalese Fusaro, Lucy Godínez, Marissa Hecker, Amanda K. Lopez, Merrill Peiffer, Jenna Lea Rosen, and Gretchen Shope. 

Jay Irwin, BroadwayWorld: Now, for a little backstory, I managed to see this at The Public Theatre in 2022 before it went on to Broadway and it’s Tony wins for best book and best score. And honestly, I didn’t care for it. I felt it didn’t flow well, and the songs didn’t move things along and were too repetitious. But I kept hearing how it had gotten so much better and now I’m forced to eat a little crow as the show has grown by leaps and bounds. I still feel there’s a bit too much repetition, but the rest of my qualms are completely gone. With a beautiful pacing and staging from director Leigh Silverman, Taub’s show doesn’t just tell the story, it makes you feel it and its importance. And the songs are lovely.

Doug Bursch, The Moderate Voice: Oh, before I forget, the best part of Suffs is not the message but simply the fact that it is a great-sounding musical. Great songs, great voices, great storytelling, no slow points, no throwaway tunes or scenes. It is just a really, really good musical. Comparisons to Hamilton are obvious and I think justified in all the best ways. In the historical musical genre, Suffs tells the story well, keeps the audience interested, makes us laugh, pulls at our heartstrings, and calls us to advocacy, or at least gets us to consider the possibility of doing something more than endlessly doomscrolling.

Dusty Somers, The Seattle Times: There’s a tension within “Suffs” that isn’t fully grappled with: How do you reconcile the gains of an inspiring, important feminist victory with the reality of its shortcomings? That the 19th Amendment was effectively only a victory for white women sits on the show’s margins, explicitly acknowledged in a halfhearted epilogue and perfunctorily dramatized with the inclusion of Black civil rights activists Ida B. Wells (Danyel Fulton) and Mary Church Terrell (Trisha Jeffrey).

Drew Sitton, Downtown News: Taub’s show is a triumph, with an enthralling plot, moving emotional moments and exceptional music and lyricism. The cast and crew carried her vision, with impeccable vocals all around.

Pam Kragen, San Diego Union-Tribune: Shaina Taub won Tony Awards for both her “Suffs” book and original score, and it’s easy to see why. Her engaging, fast-moving story has humor, surprises, poignance and heartbreak. And her often-propulsive songs, articulately sung by an excellent, all-female cast, beautifully advance the story with wit, conciseness, power and sweetness.

Herbert Paine, BroadwayWorld: Rather than preach, SUFFS lets its politics emerge through personality. Its cheeky, pointed opening number, Let Mother Vote, is led with sly precision by genteel suffragist Carrie Chapman Catt (Marya Grandy). And when a more youthful Alice Paul (Maya Keleher) enters as a storm in petticoats, conflict follows. It’s old-guard respectability meets next-wave radicalism, and the two immediately clash.

Steve Murray, BroadwayWorld: Taub’s score is fantastic, right from the opening number “Let Mother Vote” to "Finish the Fight", to the stirring "Wait My Turn". There’s both humor and heartbreaking drama when the suffs are jailed for opposing US involvement in WWI. The women see themselves as nurturers to both their men, so why not the nation. The men, mostly represented by Woodrow Wilson, are misogynistic chauvinists. Direction and staging by Leigh Siverman (Violet, Yellow Face) is terrific and the ensemble shines from start to finish. Its a rollercoaster of emotions well worth the ride.

David John Chavez, Marin Independent Journal: History and progress rarely follow a straight line. “How long must women wait for liberty” is one of the many questions the musical asks. The show is dedicated to the sacrifices made by the suffragettes — hunger strikes, blood on the brow, bodies collapsing from exhaustion — but what’s not to be forgotten is that mothers, daughters and sisters were there for legacy. When all was said and done, the 19th amendment was there. But unless the fight continues, those inalienable rights may just disappear.

Neily Raymond, The Daily Californian: The Black suffragists who appear in “Suffs” serve as plot devices more often than not. When Paul wants to concede to Southerners’ demands to relegate Black women to the back of the protest march, Ida B. Wells (Danyel Fulton) shows up suddenly and randomly. “I hear you quote Frederick Douglass on your soapbox,” she sings. “But you want me to wait my turn?”

Janea Melido, KQED: Though set over a century ago, the musical still speaks volumes about what it means to fight for something when it seems like the odds are against you. In today’s political climate, its message feels less like a history lesson, and more like a call to action.

Lily Janiak, San Francisco Chronicle: Among the smartest parts of “Suffs” is that there’s no final dreams-come-true moment. The instant that women win the right to vote, the show pivots to focus on Ida, Mary and Mary’s daughter Phyllis (Victoria Pekel), who know it’ll still be years before women of their race can vote.

Tyler Hinton, BroadwayWorld: The direction by Leigh Silverman and choreography by Mayte Natalio employ deceptively simple imagery and movement to underscore the fascinating history and Taub’s engrossing storytelling, packing a real punch, visually, mentally, and emotionally.

Nancy Van Valkenburg, Gephardt Daily: Tour scenic design, by Christine Peters, was functional and moved the story forward. Lighting, by Lap Chi Chu, was innovative, and simulated flash photography from the back of the auditorium, drawing the audience into the story. Costumes, by Paul Tazewell, defined the characters by age, class and beliefs.

Evan Henerson, BroadwayWorld: It's no accident that recent Broadway musicals with a historical and political current have found receptive audiences, particularly those (here’s looking at you, HAMILTON, SIX and the no-male 1776 revival) that have spanned the two Trump presidencies. In addition to plenty of young men and women for whom this history lesson is essential, one suspects the audiences of SUFFS were out on the streets during the 2025 No Kings rallies. Never have the curtain-closing words “keep marching on” felt more urgent.

Russell Tom, Social Thrills: “Suffs – The Musical” is as relevant today as it was then. Condensing and packing decades of history, figures, and events into an emotional 2.5 hour musical is an overwhelming challenge that the creative team has successful met. The best musical based on American history since “Hamilton”. If any viewer should feel a particular matter has been omitted, just know there are other resources to choose from besides one medium.

Charles McNulty, Los Angeles Times: The show might not have the crackling vitality of “Hamilton” or the bluesy poignancy of “The Scottsboro Boys.” It’s a good deal more earnest than either of these history-laden musicals. There’s an educational imperative at the heart of “Suffs,” which deals with a subject that has been marginalized in schools and in the collective consciousness.

Laura Swartz, Philly Mag: And as we enter our nation’s 250th anniversary year, in its very birthplace, Suffs’ themes of equality and civic engagement feel especially relevant. Yes, the 19th Amendment passed, but we don’t exactly have equality over a century later. So, it’s the finale song that sticks in my head, a song that reminds us, “The world can be changed; we’ve done it before,” as long as we “keep marching.”

Mark Meszoros, The News Herald: The company is solid from top to bottom, the women really starting to impress with the aforementioned crowd-pleaser, “G. A. B.” (which stands for “Great American B—--”), in the first act. Other standout songs include the powerful, Act I-closing “How Long?” and purposeful Act II opener “The Young Are at the Gates.”

Gwendolyn Kochur, Scene: 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.

Joey Morona, Cleveland.com: Still, “Suffs” feels somewhat incomplete. The musical acknowledges racial tensions within the movement, but its treatment of Black characters and their experience is cursory and underdeveloped. (African Americans didn’t gain full access to the ballot until the Voting Rights Act of 1965.)

Colleen Guerry, WKRN: This all-female cast — yes, that includes the individuals playing Wilson and Malone — is filled with talented singers and actors who can portray the comedic highs and the tragic lows of “Suffs.” They also break they fourth wall multiple times over the course of the show to address seemingly absurd yet historically accurate elements of the show, saying things like, “Yes, that is what Ruza Wenclawska actually historically did after this; look me up.”

R. Scott Reedy, BroadwayWorld: Whether the participants are young, old, or somewhere in between, fashionably dressed or casually clad, protests matter and people who stand up for their beliefs matter, as much now as they always have, if not more. With that in mind, march on down to the Colonial and don’t miss “Suffs.”

Debra Cash, The Arts Fuse: There’s a blandness to Taub’s score, and yes, I know it won the 2024 Tony. Despite some admirable singing, especially by Ramirez and Fulton, and thoughtful vocal arrangements that evoke much larger crowds than the cast on stage, the songs are unmemorable. There’s one line in Suffs so pithy they’ve put it on the merch: “you really put the rage in suffrage.” In Suffs, good, clear, illuminating rage is nowhere in evidence.

Rohan Preston, Minnesota Star Tribune: Stirring and powerful, the production feels eerily current because of today’s political discussions around voting and Taub’s sharp framing of a story that has driving music and anthemic lyrics.

Ross Raihala, Twin Cities Pioneer Press: Taub packs a whole lot of story into the show and tells most of it through song. At times, that means dense lyrics that almost feel unwieldy, which Taub cleverly addresses early on. She also does a fine job of creating distinct personalities on stage, including Catt and Paul as well as the women Paul assembles to create what would ultimately become the National Woman’s Party.

Jared Fessler, BroadwayWorld: Honestly, the biggest reason to see Suffs is that it doesn’t feel like a “history musical.” It feels current. The stuff these women are fighting about—who gets heard, who gets left out, how change actually happens—still feels very familiar.

Gary Graff, The Oakland Press: Every member of the all-female cast of 17, meanwhile, delivers a knockout-caliber performance that sells both the message and the dimension of their portrayals. Keleher is dynamic as Paul, and her exchanges with Catt, especially during "She and I," demonstrate tremendous chemistry between the two. Monica Tulia Ramirez (Milholland) and Joyce Meimei Zheng (Wenclawska) deliver chew up the scenery with their broad performances, while Marcus allows Stevens to grow from eager, naive neophyte into a towering contributor.

DC Felton, BroadwayWorld: For our opening night performance, the role of Alice Paul was played by Jenna Lea Rosen. She brought a fire and passion to Alice that made you root for her no matter how many times she got pushed down. It wasn't until after the show, when I was looking at the call board, that I realized she was an understudy. Marya Grandy delivered a stoic yet reserved performance as Carrie Chapman Catt, fitting for the leader of the older generation who wasn't quite ready to let the next generation take over. Danyel Fulton brought the pain of a voice not being heard to Ida B. Wells.

Taylor Clemons, BroadwayWorld: The show is led quite beautifully by Maya Keleher as Alice Paul. She exquisitely inhabits the force of nature this woman was, relentless in her pursuit for voter equality. While her fiery moments are exciting, I want to put emphasis on the more subtle heartfelt ones as well, like the Act 1 song “Worth It” where Alice asks herself if the cause is worth dedicating her whole life to achieving.

Lynne Menefee, MD Theatre Guide: 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.

Gail Golden, Buffalo Rising: Suffs is a very ambitious history lesson with so many characters that we don’t really get to know any of them well — so we care about the issue but not the individual people. I preferred Act 1 to Act 2 (when things get really grim) and two of the Act 1 musical numbers are terrific – The Great American B*tch and If We Were Married.

Average Rating: 80.6%