What Suffs Has Taught Shaina Taub About Hope, Community, and Hard Work

As a theater enthusiast and admirer of the arts, I find myself deeply moved by the story of this talented individual who is bringing history to life on Broadway. Their journey, filled with fear, doubt, and the unwavering support of a mentor, resonates strongly with me as someone who has also navigated the tumultuous waters of the performing world.

When Joe Biden declared his withdrawal from the 2024 presidential race in July, the Suffs cast was preparing for their Sunday matinee on Broadway. Shaina Taub, the show’s creator and leading actress, recalled receiving the news update while styling her hair. With the stage call made, she had limited information about the day’s performance ahead.

As the stage curtain parted to unveil a troupe of suffragettes preparing to perform “Let Mother Vote,” spectators started shouting Kamala Harris’ name. This two-time Tony Award-winning musical centered around Alice Paul, a 20th century activist for women’s voting rights, suddenly carried an additional layer of significance. According to Taub, who portrays Paul and penned the book, music, and lyrics for Suffs, “We were fortunate enough to experience this significant moment in American history so tangibly.” In the realm of live theater, she explains, “An outlet was provided, allowing all that hope and vitality that had been suppressed to burst forth, and it sustained throughout the entire two and a half hour performance.

The spirit of perseverance lies at the core of the musical Suffs, which chronicles the women’s rights movement spanning multiple years, ultimately leading to the approval of the 19th Amendment. The story of the suffragettes is marked by disappointments and trying times, yet it is also a testament to resilience and the strength in unity. Taub, aged 35, has been dedicated to this musical project for over a decade, having made its Broadway debut in April. With a deep understanding of what it takes to bring something to fruition, he embodies the spirit of seeing things through to completion.

During an interview, she delves into her evolving professional dynamics, shares insights about her Tony Award triumph, and reveals her preparations for a highly emotive stage performance scheduled for November.

TIME: So much of Suffs is centered on how long it actually takes to do work that creates meaningful change. When you’re staring down a project, and the road ahead seems a little overwhelming, how do you keep going?

Personally, I find solace and a touch of satisfaction in maintaining structure and routine when it comes to writing. To me, there’s nothing more disheartening than being stuck in the writing process. However, what once seemed unproductive on a bad writing day, I no longer view as such. As long as I consistently dedicate my time and remain disciplined about exposing my work to others, it boosts my confidence to persevere through self-doubt. Over time, I’ve learned to acknowledge and befriend the doubt and fear instead of trying to suppress them.

Alice Paul is very dedicated to her work. How has embodying her changed your own relationship with work?

I connected with Alice over this disease of equating your self-worth with your productivity. It’s something I struggle with and that I want to change. I don’t think Alice ever gets over that condition. Suffs could be called “The Tragedy of Alice Paul.” Part of the reason I go later into her life, into the 1970s, is because I didn’t buy that she [didn’t have] a soulful revelation until that late in her life, until it was too late, when she was confronted with her younger self. When she realizes, “Oh, I’m not going to get everything done that I want to in my lifetime, and I have to pass that torch.” That’s something I feel acutely aware of, that my own output is going to be insufficient to the goals I set for myself. I want to have more of an understanding that I will not get to finish my work in my life, and that my work doesn’t have to define me.

There’s a fun musical number in the show, “Great American Bitch,” when the Suffs get together after they march for women’s rights in Washington D.C., and reclaim moments when men were awful to them. How did that song come to be?

As a movie enthusiast, I’m always on the hunt for the catchy line – the hook that makes a song stand out. Recently, I found myself pondering over an insult for a woman that wouldn’t sound outdated but would still resonate in 1913 as it does today. I didn’t want it to feel antiquated or contemporary, so I decided on the term “bitch”. It’s timeless, universal and has been used as a derogatory term for women across centuries. Suddenly, the phrase “Great American” popped into my mind – it resonates with me. I thought if I could build the song around this phrase, giving each character a turn, I might just create something special.

In June, you became the first woman in history to win for both Book of a Musical and Score at the Tony Awards with no co-writing credits. What did that night mean to you?

The experience was incredibly unreal, especially since it was my first time on Broadway. Reaching Broadway was quite a struggle and an accomplishment that felt well-earned. As Jews, we often say “Dayenu,” meaning “it is enough.” Just making it to the Tonys was “Dayenu” for me. It truly felt like more than enough. Winning for the first time was almost surreal, and I had even prepared a list of people to thank if I ever got the chance. However, I never imagined having to give a second speech. That seemed like such an unnecessary display of vanity. As I took the stage, I realized I was on live national television, and I felt completely unprepared. It was a nerve-wracking moment for me. I tried to remind myself of all those years spent watching the Tonys in rural Vermont—how this was my gateway into a world that I had always dreamed of being a part of.

Sometimes it’s good to let yourself be unprepared!

It was a good, visceral experience for me to have to go through. What makes it so sweet is to be part of a team. When I won Best Score, my cast were all in costume, waiting outside Lincoln Center on a bus. They sent me a video later of when I won. They were all watching the Tonys on an iPhone. That’s one of my favorite memories from the night, knowing that they were there with me.

Hillary Clinton was also there that night and introduced the show. What’s it been like working with her as a producer of Suffs?

She’s been incredibly giving, welcoming, encouraging, and has wholeheartedly backed us. Before we had any external signs of approval, I asked if she would join us on this adventure, and she agreed. In times when fear and self-doubt overwhelmed me regarding our Broadway venture, knowing that she believed in us and that the tale needed to be shared made me more courageous. On a profound level, she recognizes the value of theater as a communal benefit that has endured for centuries. Sharing stories of our past and culture is essential for a flourishing society, and it requires funding, encouragement, and advocacy.

You’ll be performing in Suffs during the election. How are you preparing for those shows?

On election night, I’ll be participating in the show, and the following day, regardless of the outcome, promises to be one of the most emotionally charged days of my life. After the matinee performance of “Suffs,” I’ll take the stage for “Ragtime” at New York City Center in the evening – a production that holds special significance for me. The opportunity to perform in these two iconic venues on such a momentous day, with pieces that resonate deeply with me and reflect upon our current times, is an experience I won’t soon forget, no matter what transpires. I feel fortunate to be part of a community that allows us to share such spaces together. I recognize how fortunate I am to have two exceptional platforms to perform on a day with such weight, and to express ourselves collectively through the audience.

Hope is another big theme in the musical. How do you think about hope right now?

Hope in the Dark by Rebecca Solnit is one of my favorite books. She defines hope, and I’m paraphrasing, as an alternative to the simple certainty of both optimism and pessimism. Optimism is like, “I’m sure things are going to resonate, therefore I do not have to do anything.” Pessimism is like, “Things are going to suck and that absolves me from acting.” Hope locates itself in the space of “we don’t know what’s going to happen.” I read that early on in the Suffs writing process because it’s a book that our producer Rachel Sussman loves as well. I reread that essay before I wrote our new finale “Keep Marching.” That’s the hope I want to give—it’s not simple or unearned. Hope that none of us know how this election is going to turn out. It’d be easy to say “she’s going to win” or “she’s going to lose.” People love to say Trump’s going to win. I’m like, “where’s your crystal ball?”

You’ve had a lot of big names come see the show. Who has really excited you?

One really meaningful moment is that we had Ida B. Wells’ great-granddaughter Michelle Duster. She’s an amazing activist and author, and she met Nikki M. James, who plays Ida, and talked to us. Not a lot of characters that we portray have descendants, but Ida did, so having a living connection to one of our characters was really special.

Suffs is a really emotional show. How do you keep yourself from getting caught up in those feelings while you’re on stage?

Every night, I find myself compelled to immerse in it. Whenever I witness someone dabbing their eyes, or two individuals emotionally connecting, or receive a heartfelt letter from a young artist composing their own musical, it evokes within me a serene feeling that I’m determined to cherish. I’m well aware that my return to the trenches of piano playing or computer work, where I may pound my head in frustration and consider my creations as subpar, is imminent. Yet, I strive to remain present. The rewards of the arduous labor can indeed prove to be priceless.

2024-09-10 22:06