Review: LIZZIE: THE MUSICAL at Keegan Theatre

Lizzie: The Musical, more a rock concert than a musical theatre piece, includes quantities of facts and plenty of unproven notions about Lizzie Borden, whose acquittal of the murder of her parents in 1892 up in Massachusetts has remained in the national consciousness ever since. Rock musicals have been around for more than half a century. The very best of them (Hair, The Who's Tommy, Jesus Christ Superstar, Your Own Thing, The Wiz, Chess, Rent, Hairspray, Godspell, Grease, Movin' Out) accomplish what all musicals strive for: revealing characters, telling stories, captivating audiences using songs. That the songs are rock songs never gets in the way of the mission. I don't care what people say/rock and roll is here to stay.

Keegan's production of this 2009 show by Steven Cheslik-DeMeyer, Tim Maner, and Alan Stevens Hewitt impedes itself from doing what musicals can do. The possibility exists that Keegan is following production notes inside the script and score that audiences never see. But as the theatre warns, “This production is intended for adult audiences and includes mature content. Specific elements include sexual content, depictions of abuse, violence, and blood. The production also features the use of haze/fog, bright lights, and strobe lighting,” so it might also warn that Lizzie. . . is a rock concert and has drawbacks which theatregoers ought to know about.

This production prevents audience from hearing the show's lyrics by setting the onstage band's levels on “louder than the singers.” (Sound Design by Alec Green) Likewise, the lighting design (by Sage Green) often aims bright lights straight into the eyes of the audience which prevents it from seeing many moments of the show. Why Director/Choreographer Jennifer J. Hopkins seeks rock concert values for a theatrical performance matters insofar as it undermines the work of four fine singer/actors. What the band plays ought to support not overpower the cast.

Logan Benson's costume designs, Jeremy Bennett's projections, and Josh Sticklin's set design all succeed at theatre-friendly excellence. Sticklin's tall periaktoi enable swift changes of location from house interior to barn, to garden. Bennett's use of photos of many of the real people in Lizzie Borden's story keeps it a hundred. Indeed, the images of the jury speak volumes because, as the real Lizzie Borden pointed out, twelve males did not constitute one woman's peers. (Along with not being able to vote in 1892, women could not serve as jurors.) Benson's mutton chop sleeves and Victorian boots complement Bennett's authenticity.

Undermined most by the sound system are the outstanding performances of Caroline Graham in the title role, Brigid Wallace Harper (as Bridget, servant in the Borden household), Sydne Lyons (as Emma, Lizzie's older sister), and Savannah Blackwell (as Alice, friend and neighbor of Lizzie and trial witness). These talented women sing the 21 songs in the 90 minute show. There's very little spoken dialogue in Lizzie: The Musical; most of the show's explication is inside the songs which means the audience misses much of what the characters “say”; they are gifted singers and fine actors—performers who deserve an enhancing showcase.