Lizzie (Trinity Arts Centre, Gainsborough, Personal)
🌟 Lizzie 🌟
21 October 2023 at 2:30pm at Trinity Arts Centre, Gainsborough
★★★★★
Lizzie, a Hope Mill Theatre production, is one of the lesser known musicals currently touring the UK, with a London stint to follow. I have followed the show for a few years, being a fan of the soundtrack, though I never expected to see it in the flesh so soon! Naturally, I had my preconceptions, though this killer revival is a rocker's paradise, holding a disturbing horror which left me tense throughout! Gainsborough's Trinity Arts Centre holds a lower capacity in the auditorium of 200 seats, however this really benefits this show, amplifying the intensity that could otherwise be lost in larger spaces. There's a dangerous killer on the loose, and you have no option to be as close as possible!
For those unfamiliar with this musical, Lizzie delves into a dramatized life of Lizzie Borden, an American woman assumed of the axe murders of her father and stepmother. The story is embroiled with scandal and rage, a feast for your imagination, and also the perfect pre-Halloween treat!
The Borden household is the case that shocked the world, with Act 1 concluding in a nail-biting rendition of Somebody Will Do Something, flipping the conventions of tragedy by placing the murders centrally in the plot. I had to remind myself to breathe as it is unbelievably engrossing! Andrew Exeter's lighting design could not possibly be better, complimenting the tone and pace of action to magnify the story's aggression. And alongside Dan Light's video design, Exeter's set is a contained world, where both love and conflict fester. Actors can even break it's boundaries, going beyond the walls as a reminder that eyes and ears are everywhere, at all times.
Across the plot, anger isn't senseless, it builds, and manifesting this emotionally, Lauren Drew IS Lizzie Borden!! I'd previously seen Drew in the tour of SIX, and she never once misses with her powerhouse vocals, just next to none, delivering a menacing portrayal of the role. I am in awe of absolutely every performance she does, and I can really see her going down as a true legend of musical theatre, students will no doubt aspire to be just like her! Even from a drama student's perspective, I endlessly admire every one of the ladies performing in this show. Starring as Emma Borden, Shekinah McFarlane is captivating and gives audiences honesty. Ditto seeing McFarlane perform in SIX, she is a marvel at acting through song, with every feeling so raw, plus such a grounded and punchy tone. Sweet Little Sister just takes the spot of my favourite moment from the show, where this pair just have endless vigour, giving audiences a SHOW!
Amongst a world of rebellion, Maiya Quansah-Breed's Alice is a breath of fresh air, sparking a rumoured romance between herself and Lizzie. I really enjoyed the emotional depth she conveyed through Alice, and Quansah-Breed has such a delicate softness with everything she does, in a way you empathise with her, the innocence a stark contrast to the titular character. And this is the provoking thing about the musical. Despite Lizzie's presumed horrendous crime, you never quite hate her. The violence is intimidating indeed, though you see away from her rage, the vulnerability, the abuse, the longing for joy with Alice. In no way is her accused crime forgiveable, though she is terrifyingly likeable.
On as first cover Bridget this evening, Ayesha Patel is genuinely quite frightening! As the Borden's maid, Patel enacts a Narrator's character in a sense, heading through the tale with somewhat of an outside eye. I have to commend Patel, particularly for her work on facial expression because she really leans into the quirkiness, and she is just an absolute joy to watch as she performs! I really like the cast as a group of 4 powerful, unyielding women, as the story is easily distributed between the four, and how easily a story can be changed by matter of 'he said she said'.
William Whelton's choreography (and direction) is wonderfully done in such a tight space, where nothing is overcomplicated, but perfectly mirrors the punky rock score, with original orchestrations by Alan Stevens Hewitt. With musical direction from Honor Halford-Macleod, the live band, which you get glimpses of between the boards, and later opened up, sound divine, bringing a soundtrack I have been mesmerised by to life indescribably better than I could have ever hoped for. I love the little additions of sound (Adam Fisher) before the show start / during the interval, a spooky atmosphere that sets the tone wonderfully.
As a quick mention, the trial sequence of Act 2, particularly during Questions Questions, spews creativity, using incredibly quick pacing and spurts of lighting in a frenzied orchestrated defence for Lizzie. It's just one of those theatrical moments where you feel frozen in amazement, because of how well it all flows and becomes a pivot of the plot. It fascinated me so much that I spent the rest of my evening researching the Borden case, and even reading testimonies from the trial!
Blood is everywhere, and while Lizzie may not make you jump, it's sure to unsettle audiences, while also delivering a murderously good time. This musical doesn't fully get the attention it deserves, and I truly hope this revival will ignite a new generation of fans, thanks to the Hope Mill's new production. As Lizzie rounds off the tour at London's Southwark Playhouse, it'd be criminal to miss this bloody good show!
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