Review: LIZZIE: THE MUSICAL at Thinking Cap Theatre

"Lizzie Borden took an axe . . . "

Pictured: Leah Sessa, Ann Marie Olson, Sabrina Gore, and Hannah Richter

Photo By: Nicole Stodard

Thinking Cap Theatre presents a raucous, rock retelling of the tale of alleged axe murderess Lizzie Borden, with Lizzie: the Musical. Written in the style of Riot Girl, the musical features music by Steven Cheslik DeMeyer and Alan Stevens Hewitt, lyrics by Tim Maner and Steven Cheslik DeMayer, and book by Tim Maner.

Born in 1860, Lizzie Andrew Borden gained infamy after being tried and acquitted for the brutal 1892 axe murders of her father and stepmother in Fall River, Massachusetts. At the time of his death, her father's estate was valued at $300,000 (about 8 million dollars by today's standards), so understandably the case was a cause célèbre. Lizzie's trial was a coast-to-coast media sensation, and her story has become an integral part of American criminal mythology. Despite glaring discrepancies in her testimony, Lizzie was acquitted of the murders by an all-male jury after they deliberated for just ninety minutes. Following her release from the prison where she was held during her trial, Lizzie chose to remain a resident of Fall River, even though she faced severe ostracism. The Commonwealth of Massachusetts never charged anyone else with the murders of Andrew and Abby Borden, and speculations about the crimes still exist to this day.

Lizzie: the Musical is built on a couple of these speculations being brought to life as told through the eyes of Lizzie, her sister Emma, her neighbor Alice and the family maid, Bridget. The story line follows Lizzie's simmering resentment of the long-term sexual abuse she has endured at the hands of her father, and her blossoming sexual desire for her best friend, Alice. The music is an extension of her anger and turmoil, with the other characters joining in her rage against the situation and societal expectations. Clutching their microphone stands, they are dressed in black and white Victorian garb, with just a touch of Steam Punk thrown in. They energetically jump up-and-down, and rock back-and-forth, karate kicking the air as they engage in a mild, head-banging version of a female, thrash band. The anachronistic nature of the sight highlights the calm, well-mannered surface presented by Lizzie as opposed to the ragged and primitive emotions roiling within.

The Four Singers really handle the musical style rather well. They are able to bounce back from numbers requiring an intentionally, rough-edged vocal technique to ones requiring a sweeter, gentler feel. Inherent to the style in which the music of the show is written, is a generalization of pitch at the ends of held notes, or a sliding up-to and off-of a pitch so it becomes a bit of a drive-by. I suppose one could say that emotionally driven moments can result in less pitch specificity, but I found it not my cup of tea. But with that said, the score could not have been easy to sing due to it's extreme demands on the vocal ranges of the singers. Screamishly high, rock-and-roll sections of songs were followed by ones in which they were then singing basement low notes. So - props to all four cast members for making it through the show sounding just as good at the end as in the beginning!

I did enjoy the scenic elements, which are not lavish, but stylistically representative of the time period, and most effective for this three-quarter round performance space. The sound and lighting in the Vanguard is always clear and well done. A live, 5-piece band, ably backs the four women like a true rock band, separated by panels just a few feet. They almost appear as if members of Lizzie's court room at those brief when she takes the stand. I appreciated the balance between singers and band, especially ass there are many songs with driving beats, and it would be easy for the drummer to have overpowered the singers.

Anne Marie Olson (Lizzie) manages to establish an odd degree of innocence about her character regardless of the flagrance of her guilt. It would be fair to say that it was perhaps not the actually innocence of the real Lizzie that got her acquitted, but her ability to portray the quality of innocence to the outside world. How often W. May find ourselves believing someone merely because they present themselves as well spoken, respectful and attractive. It is tantalizing to ponder whether Lizzie's interest in Alice is genuine love for, or the pragmatic plotting of someone securing an ally. Olson and Sessa wisely play the connection between their characters with enough room for interpretation. Leah Sessa (Alice) brings a passionate portrayal to her role as Lizzie's friend and eventual paramour. Her insistence on telling the truth brings strength to a character that otherwise might have seemed to love-struck to remember that she has a conscience. Sabrina Gore (Emma) comes off as a bit creepy, as her character is generally angry and dour faced. It would almost be believable that she was the murderess had she not been away at the time. In this version of the story Emma so clearly wants them dead that she may as well have lent a hand. She actually had my favorite song in the show: "What the f-ck now, Lizzie!". Hannah Richter (Bridget), who acts a bit as a narrator at times, brings just the right amount of spunkiness to her character. She set the tone of the show with a clever knowingness of what the Borden house is really like behind their locked doors, and what is about to unfold for the audience.

Lizzie: the Musical certainly is the personification of "cutting edge theatre" (pun intended). It has great subject matter, and I enjoy a, tongue-in-cheek, irreverent handling of story line. However, it leads with a musical feel that is rather angry. I wanted more songs like Lizzie's act 1 "This Is Not Love". It told me about the character and caught my interest. But then I didn't feel as welcomed into the story as I believe it wanted me to be. The tender moments cried out for me to empathize with the characters. I then would feel pushed away by the in-your-face rock band looking for an audience. The presentational nature became too gimmicky for me to embrace the premise of the musical style as sincere. Aside from all the Riot Girl lovers out there, in this case, despite a talented cast, Lizzie's axe misses her mark.

Sprung from Maner and Cheslik-DeMeyer's love of musicals, Americana, female-rockers, and the queer politics of the late 1980s, Lizzie: The Musical started out as a four-song theater/rock concert piece. It was later expanded into a full musical, with more music and orchestrations, by newly added collaborator Alan Stevens Hewitt.

Founded in 2010, Thinking Cap Theatre (TCT) is a 501c3 not-for-profit, professional theatre company that holds residence at The Vanguard in Fort Lauderdale. TCT is devoted to presenting experimental, provocative, and socially-conscious plays. TCT is also committed to presenting works that depict a range of identities more reflective of today's society; to dismantling norms and stereotypes through non-reactionary, honest means; and to freshly presenting both well-known and rarely-staged classical plays.

Thinking Cap Theatre production of Lizzie: the Musical will be appearing at The Vanguard through November 4, 2017. The Vanguard is located at 1501 S. Andrews Avenue, in Fort Lauderdale, Florida. Tickets for Lizzie: the Musical are $40 ($20 for students with ID) and are on sale now, and may be purchased by phone at 954-610-7263 or on line at www.thinkingcaptheatre.com.

Cast:

Lizzie Borden: Ann Marie Olson

Emma Borden: Sabrina Gore

Alice Russell: Leah Sessa

Bridget Sullivan: Hannah Richter

Crew:

Director/Costume Designer: Nicole Stodard

Music Director: Patrick Watkins

Set Designer/Stage Manager: Moretto Watkins

Lighting Designer: Eric Nelson

Sound: Bryna Alden

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