Book: Tim Maner
Music and Lyrics: Steven Cheslik-Demeyer and Alan Stevens Hewitt
Director: William Whelton
It’s August 1892 and in the sleepy town of Fall River USA, ‘somebody will do something…’
In the dimly lit Hope Mill theatre, a hushed anticipation hangs in the air. The production begins with a haunting rendition of the popular nursery rhyme inspired by the true-crime story the play is based on, before the cast takes the stage with a resounding burst of energy for opening number House of Borden, which further sets the scene.
Based on the real-life events surrounding the gruesome murders of Andrew and Abby Borden in 1892, allegedly by their daughter Lizzie, LIZZIE: The Musical is a fascinating exploration of Lizzie’s possible motivations to commit the infamous crime. Abuse at the hands of her father and step-mother and Abby Borden’s greedy attempt to alter Andrew Borden’s will to secure his assets for herself upon his death, eventually leads Lizzie to do the unthinkable…
Written by Steven Cheslik-DeMeyer, Tim Maner, and Alan Stevens Hewitt, the rock-infused production delves into the complexities of the Borden family dynamics, blending fact and speculation to create a mesmerizing tale that is part history, part legend.
The set design and staging of LIZZIE: The Musical, perfectly capture the sense of claustrophobia and isolation of the Borden Household and small-town setting. Set and lighting designer Andrew Exeter’s background is minimalistic yet evocative, featuring wooden boards to reflect the style that characterised many houses in the American Victorian period as well as Lizzie’s sense of entrapment with their reminiscence of prison bars. The strategic use of lighting, with contrasts between shadows and bright flashes, enhances the sense of foreboding and chaos and helps to immerse the audience in the inner turmoil of the characters.
At the heart of LIZZIE: The Musical is the relationships between the four female protagonists of the story, Lizzie (played by Lauren Drew), her older sister Emma (Shekinah McFarlane), their enigmatic maid Bridget Sullivan (Mairi Barclay), and Lizzie’s friend and confidante (and possibly more) Alice Russell. The four leading ladies deliver stellar performances, bringing the characters and the palpable chemistry between them to life. The believable sisterly dynamics between Lizzie and Emma, the complex relationship between Mistress and servant in the sister’s occasionally dismissive treatment of Bridget, and the simmering connection between Lizzie and Alice all add layers of depth to the narrative. Barclay steals the show and offers some much-needed comedic relief with her sarcastic wit and ‘long-suffering servant’ routine as Bridget.
The portrayal of Lizzie Borden as a complex but ultimately determined woman, who eventually takes matters into her own hands to escape her oppressive circumstances, is a refreshing departure from the one-dimensional ‘crazy woman’ character often associated with such stories and time-periods. The audience is invited to empathise with Lizzie’s struggles, but not pity her, making her a compelling and relatable protagonist.
Despite arguably a slight oversight on the sound mixing which occasionally makes lyrics hard to make out over the music, the vocal performances in Lizzie are not only stunning but also hauntingly beautiful, with catchy rock numbers like ‘Sweet Little Sister’ showcasing the actor’s vocal abilities supported by the fabulous rock score. Lizzie walked so that the likes of SIX and Hamilton could run, with numbers like ‘Will you stay?’ strikingly reminiscent of Hamilton’s‘That Would Be Enough’ and ‘House Of Borden’ being a forebearer to SIX’s ‘House Of Hanover’.
Director, William Whelton, has created a production that is both visually interesting and emotionally charged. This rock opera takes bold risks, but they undoubtedly pay off. The choreography somehow seamlessly incorporates rock concert aesthetics with the 1800s setting and adds a unique dimension to the storytelling. The use of blood as a recurring motif, whether splashed across the set or projected on the wooden backdrop, is a striking visual metaphor that heightens the impact of the narrative first foreshadowing, and then depicting the gruesome events that unfold.
Overall, LIZZIE: The Musical is a well-crafted and evocative piece from start to finish, with a mix of suspense, moments of genuine emotional depth and dark humour (the number ‘What The F#%k Now, Lizzie?’ earns many laughs as a simple yet hilarious way to showcase Emma’s shock upon discovering her sister has murdered their parents). While the historical accuracy of the events may have been somewhat lost in artistic interpretation, the characters are undeniably well-rounded and believable, each wrestling with their inner demons and desires.
With its stellar cast, inventive staging, and gripping narrative, the musical breathes new life into a dark chapter of history, delivering riveting performances and an immersive experience that lingers in the mind long after the final rock encore. LIZZIE: The Musical is a must-see for theatre enthusiasts and anyone looking to add another fabulous Hamilton-esque historical retelling to their Spotify playlist!
Runs until 30th September.
