The cast of “Parade” at Ford’s Theatre.

Parade is a musical that wreaks havoc on the emotions.

There’s seeing protagonist Leo Frank transform from infuriatingly prickly and dismissive to entire sympathetic. There’s the fury you feel surrounding Frank’s false imprisonment and shady trial. And there’s the euphoria of false hope you get about his fate before circumstances soon crush any possibility of redemption.

Parade, now being staged in a partnership between Ford’s Theatre and Theater J, is hardly typical musical theater fare. It’s a tragedy: in Alfred Uhry’s book, based on a true story, Leo Frank (Euan Morton) was a Jewish Yankee, transplanted to Georgia, who is blamed for the murder of one of his young factory workers. He’s sentenced to death, but his wife Lucille (Jenny Fellner) works tirelessly to get his case revisited. She succeeds, but mob justice is brought down upon Frank before the legal system can try again.

It’s heavy stuff, and Parade can be uncomfortable to watch. Its throwback set and costumes, nostalgic music and layered characters manage to both celebrate and castigate the traditions and shortcomings of 1915 Southern culture. There’s also the disquieting character of Jim Conley, a cleaner at the factory, who is also one of the play’s few black characters. Parade hints at Conley’s possible guilt in the murder but doesn’t hammer it home, and Kevin McAllister plays the role with virile, intimidating gusto. Director Stephen Rayne doesn’t pull any punches with his graphic staging of Frank’s execution, either.

Parade has a powerful, unconventional score from contemporary composer Jason Robert Brown, whose melodies keep you guessing — bluesy one minute, dirge-influenced the next. The show’s love ballads between the gradually reconnecting Leo and Lucille are particularly stirring, from the triumphant “This Is Not Over Yet” to the plaintive “All The Wasted Time”.

Parade’s talent-stocked cast is led by Morton as the tightly wound Leo Frank. The role allows Morton to show great range. He’s transfixing during the musical number “Come Up To My Office”, a brilliant courtroom segment where Frank casts off his own identity to transform into the lecherous, diabolical creep the townspeople believe him to be. The new persona is such a contrast from the real Frank that it drives home the ludicrous nature of the accusation. As his wife, Fellner’s sweet but robust vocals make her a compelling partner for Morton; she shines in such songs as “What Am I Waiting For”, her character’s early reflection on the problems in her young marriage.

Parade’s supporting players are a veritable roster of local musical theater superstars, whether it be Chris Sizemore as an opportunistic reporter, Stephen Schmidt as a governor with a conscience, or Lauren Williams as the sunny but ill-fated victim Mary Phagan. (Normal lead players like Will Gartshore and Erin Driscoll almost feel underused). Though Karma Camp’s choreography can feel a little precious at times, Parade‘s chorus makes the play’s large-scale numbers soar, even in a musical that’s anything but sunny.

Parade runs through Oct. 30 at Ford’s Theatre. Tickets are available online.