Review: LIZZIE THE MUSICAL at Thinking Cap

The Forty Whacks of Rock and Roll

When your blue haired, purple veined Granny shucks off her sneakers and plops down to list her all time fave lady rockers she's gonna write Joan Jett, Janis Joplin, Pat Benatar, Debbie Harry, Chrissy Hynde and all that clangerous ilk and she'd be right. But by golly, you better yell in her ear trumpet, "Hey, Granny Tats, add Sabrina Gore, Ann Marie Olson, Hannah Richter and Leah Sessa to that list."

These four, uproarious in 1892 dress on Thinking Cap's stage, churn the best of 80's rock as they sing the story of Lizzie Borden and her minced meat parents. Mic stands are spun and flung, fists are powered high, and bloomer clad legs are spread wide, kicked to the ceilings in a bloody frenzy of Father lusts best, ooh I hate my step mom, lesbian love, jealousy, greed and hand me that axe and stand way back. Oh, and here's a box of dead birds.

Golly, that sounds a little lurid, but that's the great fun of this sardonic production of "Lizzie".

Backed by the no limits five piece rock band the cast performs with a precision remarkable in brawling rock and roll musical. Gore, Olson, Richter and Sessa have glorious voices and their acting is everything you could wish for in a 2017 version of 80s head bangers celebrating an 1892 nightmare.

Ann Marie Olson is 33 year old unmarried Lizzie, abused by her father, seduced by her best friend, hating her step mother, stiff with shame and ultimately becoming a calculating, self amused cynic.

Leah Sessa as Alice Russell is Lizzie's best friend. She's sensual, pleading, a girl with a conscience. And finally fearful.

Sabrina Gore, as Emma, Lizzie's older sister, also unmarried, is red hot angry. Frustrated, fearing her step mother is stealing the girls' inheritance, her avarice and hate never waver.

Hannah Richter is Bridget, the Borden's maid, knowing the dirt and sometimes spilling. She delightedly fills the spaces in the Borden's tale.

With music by Steven Cheslik-deMeyer and Alan Stevens Hewitt and lyrics by Cheslik-deMeyer and Tim Maner who also wrote the book, Lizzie is a joyously thunderous show. It's only ninety minutes long with a much needed fifteen minute intermission.

A fairly simple set by stage manager Aliece Moretto Watkins has the bandstand upstage with a hayloft and bunk bed upstage right. Stage left leads to the heavy double doors with brass handles that lead to the incestuous Mr Borden's room. Downstage center is a throne like wheeled chair, around which the actors, pivoting, writhing, and shaking, scream their stuff. Did I mention the head bobbing? And the bloody axe?

A salute here to the mighty concentration of sound board operator Bryna Alden and lighting operator Aliece Moretto Watkins. The twenty-eight songs stream flawlessly.

Musical director Patrick Watkins leads the terrific band on synth piano with Alejandro Carrizales on guitar, Ron Cowler on piano, Kristi Lynx on bass, and Nick Trotogott on drums.

Lighting design by Eric Nelson and scenic art by Ryan Maloney. Judith M. Hurst is the dramaturg.

Nicole Stodard, who also designed the costumes, once again shows her exemplary directing skill. "Lizzie" is a perfect example of her imagination, attention to detail, and ability to get the very best from cast and crew. I doubt you'll find a more precise ensemble at work today. Oh, yeah, I'm a fan boy.

Thinking Cap Theatre is presenting "Lizzie" only through November 4. Catch it at the Vanguard, 1501 South Andrews Avenue, Fort Lauderdale. 954-610-7263 http://www.thinkingcaptheatre.com

Photo by Nicole Stodard

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