A killer show which lacks execution
In the late summer of 1892, in Fall River, Massachusetts, a grisly scene unfolded within the Borden family home. The lifeless bodies of Mr. and Mrs. Borden were discovered with brutal axe wounds to the back of their skulls. Mere days later, the arrest of their youngest daughter, Lizzie, sent shockwaves through the community, as she was suspected of the heinous crime. This haunting tale, which captured the attention of the American people in the 1800s, has once again resurfaced to captivate audiences in the modern era in the form of a raging pop-punk musical.
LIZZIE premiered in New York, way back in 2009 at The Living Theatre, and almost a decade later reappeared across the pond, gracing the London stage in 2017. Hope Mill’s latest rendition marks the production’s first UK-built version, as well as its first UK tour. The show seems to have acquired something of a cult following, with fans dressing in Victorian-inspired frocks and corsets poised with programmes in hand, waiting to meet the cast for photos and autographs.
A rock musical exploring the real-life tale of a female axe murderer presents an incredibly thrilling concept. Similarly to the West End’s hit production SIX, LIZZIE reimagines history through a feminist lens and contemporary pop-rock melodies before culminating in a powerful finale where the historical women seize control of their own stories (and the audience is encouraged to stand and film the spectacle). However, where SIX excels, LIZZIE falls short.
The show aims to delve into the accused murderess’s intricate psyche, exploring potential motivations including inheritance loss, sexual abuse, oppression and madness. Four women, including Lizzie (Lauren Drew), her sister Emma (Shekinah McFarlan), their maid Bridget (Mairi Barclay), and Lizzie’s friend and love interest Alice (Maiya Quansah-Breed), drive the narrative solely through song, with minimal conversational dialogue.
The show features an all-female band delivering powerful punk tunes with heavy guitar, rhythmic drums, and strong basslines. Admittedly, some of the tunes, like ‘Gotta Get Out of Here,’ are undeniably catchy and energetic. But while the songs are impressive, they sometimes lack purpose and direction, appearing to serve as filler rather than driving the plot. Some details are assumed known, leaving gaps in the story, while character arcs feel underdeveloped and direction choices appear weak. Overall, it’s quite disjointed.
The lyrics reference Mr. and Mrs. Borden, yet their absence hinders the audience’s emotional engagement with the story. In ‘This is Not Love,’ Lizzie sings about her father’s abuse while cowering in an armchair (presumably, his armchair), which comes across as somewhat emotionally charged but also (and I hate to say this) reminiscent of adolescent melodrama. Shortly thereafter, she transforms into a ruthless, driven murderer, and while her motivations are clear they lack any real detail. The stakes are always high, but the work just isn’t apparent.
The choreography by William Whelton feels lacklustre, featuring simplistic steps that fail to infuse the necessary flair and drama required for a story of this nature and could honestly be easily recreated by any avid Tiktoker. Despite the questionable direction, the cast truly shines, demonstrating their talent and dedication to the challenging production.
Lauren Drew’s triple threat abilities, including her powerful vocals, allow her to convey raw emotion effectively. Shekinah McFarlane’s commanding stage presence and bold performance make her a standout, leaving a lasting impression despite her limited time on stage. Maiya Quansah-Breed brings a sweet and well-meaning portrayal to her character, complementing and contrasting the energy of her castmates. Mairi Barclay excels in her portrayal of the challenging role of Bridget, infusing the bizarrely pantomime-esque character with comedic commitment which makes the audience laugh out loud. All four women are exceedingly talented and watchable, and I’m excited to see what they do next.
Overall, the premise holds potential, yet the narrative lacks detail and clarity. While the direction falters, the cast’s performance is outstanding, carrying the show to the best of their ability. If you are intrigued by this tale despite its fallbacks, you can catch the show at the Southwark Playhouse Elephant until the 2nd of December, and then in Peterborough’s New Theatre between the 6th and 16th of December.
REVIEWER: Anna Jones