REVIEW: Lizzie the Musical (Keegan Theatre)
Who say Halloween has to be the end of the spooky season? Even though jack-o-lanterns and ghosts may be a little feaux-pas now that we’ve hit November, that’s not stopping Keegan from embracing a little horror in their latest musical, Lizzie, based on the infamous axe murderer* Lizzie Borden.
*technically aquitted lol
Book/Music
Steven Cheslik-Demeyer, Tim Maner, and Alan Stevens Hewitt join forces to create a rock musical event to match the trial and tribulations endured by one Lizzie Borden. Admittedly, I did not know who this was, but learning through the program and placards at the Keegan’s small lobby did let me know a lot of key pretext. In a pre-OJ, pre-Serial world, the sensationalism surrounding the gruesome axe murder of her father and step-mother quickly led to the Bordens being American folk icons (for better or worse).
And it’s a good thing that this information is spelled out to you at any other point, because between the unintelligible wall of sound that is its score and its uneven plot, one finds it difficult to attach any following to either Lizzie or the others. The book follows Lizzie from her initial disgruntlement with her father’s new marriage (implied assault from him) and follows a 90-minute, two-act parade through to her acquittal. The ending in particular feels incongruent, showcasing feminist imagery ranging from the Suffragettes to the Riot Grrls. Particularly, many signs implore the audience to “listen to women”—normally, very apt advice. But based on the fact Lizzie was acquitted, it seemed like they did; and now there’s an axe murderer on the loose. 3/10
Acting
Despite a milquetoast platform, Lizzie contains several supreme performances, anchored by an electric Caroline Graham in the title role. Yet, each of the supporting actresses (Brigid Wallace Harper, Sydne Lyons, and Savannah Blackwell) in their operatic grovel are uniquely present, and never provide a dull moment across the clashes and rips of the backing music. 9/10
Production
The boxy set neglects to bring any visual intrigue, but there are pops of exciting lighting that tracks movement and bring gorey flash to certain numbers. The corset-heavy costumes are also impressive, and Marika Countouris’ punky musical direction is easily the star of the show. 4/10
Viz
I particularly enjoy the energy on Keegan’s program, which features Graham in a Six -like pose, subbing an axe for a microphone. This vibe is continued into the pre-show, through an edgy mix of alt-rock, punk, and other shredful tracks that blare over the speaker. 8/10
Verdict
Lizzie’s loud performances bring some much-needed personality to a flat book and score. 24/40
