#Steven Cheslik-DeMeyer

[doyouknowthismusical]

[joanofarc]

tv goodbyes, steven cheslik-demeyer (1987).

i hate to watch other people have to leave other people

[lavender-gayz]

Lizzie the musical at Southwark Playhouse Elephant - some little moments that I loved, part 1/?

Background: This production originated at Hope Mill Theatre in Manchester. It features Lauren Drew as Lizzie; Maiya Quansah-Breed as her neighbour, Alice; Shekinah McFarlane as Lizzie’s sister, Emma; and Mairi Barclay as the Bordens’ housekeeper, Bridget. Esteemed tumblr user thegirl20 has many lovely photosets and gifsets of the cast, including this high-definition one where you can see the faces of everyone in the main cast (and also the set!)

I was lucky enough to catch this show with the main cast in London at the Southwark Playhouse Elephant a couple of times (plus once with Emma Louise Hoey as Lizzie and Ayesha Patel as Bridget) when they went on a mini tour in Nov/Dec 2023 :)

1. The House of Borden:

Bridget ladles out impressively gloopy gruel while singing about all-purpose mutton. Both Lizzie and Emma give it a wide berth (and say no to breakfast for the rest of the show).

Emma goes, 'we’ve no personal objection BUT SHE CAN'T HAVE WHAT'S OURS' – an increasingly-concerned Lizzie rushes over and shakes her head and Emma is temporarily mollified. Fair is fair in the House of Bordennnnn!

The way their voices go up in the last ‘let us take you to an August back in 1892’ – MUAH.

2. This Is Not Love:

Lauren Drew performs the majority of this song while sitting uncomfortably in an ornate armchair where something horrifying routinely happens. It’s very effective.

She really conveys the despair and the agony Lizzie feels – there's one bit in the final verse where she gasps out, 'this is not love' and she sounds so incredibly broken.

(“I want…to see arms outstretched to hold me / wanting nothing in return / but only for me to feel safe and secure”

She’s literally next door, Lizzie.)

And at the end she tears herself out of the chair with the line ‘I don’t know what it is, but I want out of it.’

3. ‘I love you too, Father.’

4. Gotta Get out of Here:

Lizzie absently trails her hand along Alice's arms and shoulders in this one bit at the start - Alice never stood a chance tbh.

Maybe I'll do a separate Alice x Lizzie highlights thing.

LOVE the energy in this song and how Lizzie almost seems possessed when she sings about something hanging over her and how she physically throws her body around.

Alice's higher 'stay here longer' when she joins in on the chorus is what angels dream of.

5. If You Knew:

Let's have MAXIMUM YEARNING

To set the scene: we’ve just come out of ‘Gotta Get out of Here’, where Lizzie expresses her need to get out of here and is hindered by Bridget, Emma and Alice (with some very cool dance breaks). Lizzie finally breaks free and Alice chases after her but loses her. We’re now in Alice’s bedroom where she’s thinking about Lizzie.

Lizzie is just off to the side (presumably in her own home or in her yard) looking sad and letting down her hair.

Alice is singing to herself about how much she loves Lizzie and wondering how Lizzie would react if she knew about this.

(She thinks a secret’s just a lie! This may or may not come back to bite us!)

Her voice just SOARS when she sings about dreaming about having Lizzie in her arms.

I like that this song expresses the pretty relatable concern of ‘oh no if you knew I had a big gay crush on you would you still let me touch you and comfort you’ but it doesn’t come with a side of ‘oh no it’s so wrong and gross for me to have feelings for another woman’. Thanks, Steven Cheslik-DeMeyer and Tim Maner!

And good news for Alice: YES Lizzie will let you hold her close when she knows about your secret gay feelings AND she will make out with you and hold you close too! You will get to be happy for approximately seven seconds before Bad News Bridget interrupts.

6. Soul of the White Bird:

'the violence of freedom'

Emma joins in with Lizzie from the side at ‘oh if I had wings like a dove’ - the harmonies!!

Bridget knits and goes la la la in counterpoint while Lizzie slowly falls apart.

7. ‘Lizzie, don’t!!’

8. Maybe Someday:

The FIRST iteration of this song and it’s Alice singing to Lizzie about how maybe someday her heart will be open. They may not get a conventional happy ending together but by god their story is integral to this show.

It is so sweet and then they end up cuddling and falling asleep!

I was going to save this for the Alice x Lizzie highlights, but this was too cute to leave out so I guess I'll just include it twice: Lizzie is the big spoon!!!

9. ‘Her bed is freshly made, as if she hadn’t slept in it at all!’ – Bridget, relishing her role as a gossipmonger-in-chief

10. Who hasn't had to kick a girl out in the morning because your sister needs to vent about developments in your father's will and is threatening to go to Fairhaven? Sisters, amirite?

11. ‘Emma, wait! What if Mrs Borden…dies first?’

12. Sweet Little Sister:

It has been said before and it bears saying again: vocals for DAYS.

The little lyric change to “I look into your cold dark eyes” to suit Lauren’s eye colour!

Bridget and Alice pop up with mic stands to sing along.

And then Emma fucks off to Fairhaven even though her sweet little sister was begging her to stay.

13. Mairi's delivery of 'oh Miss Emma you've forgotten your book! And she asked me to pack it S P E C I A L.' is so deeply funny.

14. Also hilarious: the very un-suspicious way Bridget slides the book of household poisons over to Lizzie.

15. ‘…time for Mrs Borden’s tea!’ I love Bridget.

This feels like a good time to take a break!

[theinglenookheir]

Musicals that deserve more love

Since I really only see the same few musicals being discussed on Tumblr, I wanted to recommend a couple of shows that I think deserve a little more attention, as well as links to the soundtracks.

1) Lizzie (2013) by Tim Maner [book/lyrics], Steven Cheslik-DeMeyer [lyrics/music], and Alan Stevens Hewitt [music]

An all-female rock opera about Lizzie Borden and the possible events leading to the 1892 Fall River axe murders. Recommended for fans of Six, Spring Awakening, and Bloody Bloody Andrew Jackson. 

Listen to the cast recording here.

2) The Light Princess (2013) by Tori Amos [music/lyrics] and Samuel Adamson [book/lyrics]

Overwhelmed by the kingdom’s grief after her mother dies, Princess Althea of Lagobel resolves to never let sadness weigh her down and literally float through life without a care. This becomes an issue, however, when Lagobel wages war with a neighbouring kingdom, forcing Althea to fulfill her duty as the future queen. Recommended for fans of Wicked and R&H’s Cinderella.

Listen to the original cast recording here.

3) Five Guys Named Moe (1992) by Clarke Peters [book] and Louis Jordan [music/lyrics]

After his alcoholic tendencies ruin his last relationship, Nomax is visited by the members of his favourite jazz band, who magically appear out of the radio to help him get his act together. Recommended for fans of Company and jazz music in general.

Listen to the original Broadway or London cast.

4) Alice By Heart (2019) by Duncan Sheik [music], Steven Sater [lyrics/book], and Jessie Nelson [book]

While seeking shelter during the London Blitz, best friends Alice and Alfred are forced to separate when Alfred is quarantined due to tuberculosis. Knowing her friend may soon die, Alice reads him Lewis Carroll’s famed novel through the wall to allow them one last childhood escape. Recommend for fans of Spring Awakening, Next to Normal, and Jasper in Deadland.

Listen to the original cast recording here.

5) Lizard Boy (2015) by Justin Huertas [book/lyrics/music]

Due to a childhood incident that mutated him into a human-reptile hybrid, Trevor finds it difficult to trust other people. He is forced to step out of his comfort zone, however, after meeting Cary, the sweet but promiscuous man of his dreams, and Siren, a psychic willing to do whatever it takes to protect the city from an oncoming dragon attack. Recommended for fans of Be More Chill, Fun Home, and [title of show].

Listen to the cast recording here.

6) Allegiance (2015) by Jay Kuo [music/lyrics/book], Marc Acito, and Lorenzo Thione [book]

Following the attack on Pearl Harbour, Keiko and Sammy Kimura are sent to the Heart Mountain internment camp with their father and grandfather. While Sammy attempts to prove his family’s loyalty by enlisting in the army, Keiko gets involved with protests against the treatment of the camp’s inmates. Recommended for fans of Miss Saigon, The Band’s Visit, and Dogfight. 

Listen to the original Broadway cast recording here.

7) Ragtime (1998) by Stephen Flaherty [music], Lynn Ahrens [lyrics], and Terrence McNally [book]

The matriarch of an upper-class white family, a Jewish immigrant, and an African American musician turned activist find their lives inexplicably entwined while dealing with the societal changes in New York during the early twentieth century. Recommended for fans of Les Miserables, Come From Away, and Anastasia.

Listen to the original Broadway cast recording here.

8) Passing Strange (2008) by Stew [music/lyrics/book] and Heidi Rodewald [music]

A young black musician leaves his Christian household in Los Angeles and travels to Europe in hopes of finding “the real.” Recommended for fans of Pippin and American Idiot.

Listen to the live cast recording here.

9) The Scottsboro Boys (2010) by David Thompson [book], John Kander [music], and Fred Ebb [lyrics]

An all-black cast re-imagines the infamous trial of nine African American youths falsely accused of raping two white women in the 1930s as a minstrel show. Recommended for fans of Chicago and Parade.

Listen to the off-Broadway cast recording here.

10) Follies (1971) by Stephen Sondheim [music/lyrics] and James Goldman [book]

A group of former showgirls bring their husbands to a reunion at the theatre where they used to perform, which is scheduled for demolition, and remember their glory days. Recommended for fans of A Chorus Line, Cabaret, and Sunset Boulevard.

Listen to the original Broadway or London cast or the National Theatre recording.

11) Venice (2014) by Matt Sax [music/lyrics] and Eric Rosen [lyrics/book]

In a dystopian society torn apart by war and terrorists attacks, Venice (son of the late activist Anna Monroe) decides to marry Willow Turner (daughter of the assassinated president) in an attempt to peacefully reunite the nation; however, his brother, Commander Markos, is determined to ruin the wedding to keep the public fearful and in line. Recommended for fans of Hamilton.

Listen to the original cast recording here.

12) The Wild Party (2000) by Andrew Lippa [music/lyrics/book] / Michael John LaChiusa [music/lyrics/book] and George C. Wolfe [book]

Based off the 1920s poem by Joseph Moncure March, Queenie and Burns host a party for their fellow vaudevillians in an attempt to save their floundering relationship. As the night goes on, however, the party dissolves into a murderous orgy. Recommended for fans of Cabaret.

The show is notorious for having two adaptions that coincidentally premiered at the same time: one by Andrew Lippa off-Broadway and one by Michael La Chiusa on Broadway. Listen to the Lippa version here or the La Chiusa version here.

[larryland]

Mount Holyoke College Department of Theatre Arts Presents "Lizzie: The Musical"

Mount Holyoke College Department of Theatre Arts Presents “Lizzie: The Musical”

The Mount Holyoke College Department of Theatre Arts presents Lizzie:  the musical by Steven Cheslik-deMeyer, Tim Maner, and Alan Stevens Hewitt, directed by Michael Ofori.

A raucous four-person rock opera that delves into the Lizzie Borden myth.  It has been hailed by critics both in the U.S. and abroad.

Performances:  Thurs-Sat, March 5, 6, 7 at 7:30 pm and Sun, March 8 at 2:00 pm in the Rooke…

[perry-tannenbaum]

Lizzie Whacks the Bordens in a Creepy, Hard-Rock Witches’ Brew

Lizzie Whacks the Bordens in a Creepy, Hard-Rock Witches’ Brew

Post:  Lizzie, a rock musical By Perry Tannenbaum

It’s amazing what murdering your mom and dad can do for your outlook, for your self-esteem, and especially for your fashion sense. Back in a radically revisionist 1892, Lizzie Borden took an axe and, in a vigorous aerobic workout totaling 81 whacks, achieved all of these wholesome objectives. Or so Lizzie, a rock musical playing at Queens…

[historyisgaypodcast]

Episode 15: Lizzie Borden Took a Labrys

Way back in the first episode, Leigh and Gretchen formed a historical ‘murder wives’ ship starting with Anne Bonny; in this episode, they take a closer look at murder wife #2: Lizzie Borden! That’s right folks, she too may very well have had a thing for the ladies as well as possibly murdering her father and stepmother. Just how queer was she? Did she have an affair with her maid and her stepmother caught them? Did she fall in love with a glamorous lesbian movie star after the murders? Why was she acquitted and what was society like for a single, Victorian woman who wanted to be in possession of a large fortune and upward social mobility? Find out on this week’s History is Gay!

A Closer Look at Lizzie Borden, The Trial, and Her Potential Loves

If you liked hearing about Lizzie Borden, you may also like…

Plays:

1948: Fall River Legend, a ballet choreographed by Agnes De Mille, most famously known as the choreographer for Oklahoma!, Carousel, Brigadoon, and other classic 1950s American musicals. Takes the Lizzie Borden story and changes the outcome of the jury sentence to guilty.

1965: Lizzie, an opera by Jack Beeson

1990: Lizzie the Musical a rock opera by Tim Maner, Steven Cheslik-DeMeyer and Alan Stevens Hewitt called “a gothic rock ritual with a ‘riotgirl’ attitude by NYT and the Village Voice describes the music as “lush tunes that retch sex, rage, dyke heat, misanthropy, and incest.”

Axed: An Evening of One Ax by Carolyn Gage, a collection of two one-act plays, Lace Curtain Irish and The Greatest Actress Who Ever Lived, both focused on women who were intimate with Lizzie during her lifetime, Bridget Sullivan and Nance O’Neil, respectively. Carolyn Gage is the playwright that called Nance O’Neil an “outrageous lesbian”.

Film & Television

1975: The Legend of Lizzie Borden, an ABC television film starring Elizabeth Montgomery as Borden and Fionnula Flanagan as Bridget Sullivan. Fun fact: It was discovered after Elizabeth Montgomery’s death that she was actually Lizzie Borden’s sixth cousin once removed!

2014: Lizzie Borden Took an Ax, a Lifetime television film starring Christina Ricci

2017: Lizzie Borden Documentary on the ‘Female Killers’ YouTube channel that we’ll link in the show notes.

2018: Lizzie movie starring Kristen Stewart and Chloe Sevigny. The film centers around the intimacy between Borden (played by Sevigny) and maid Bridget Sullivan (played by Stewart) in the face of Lizzie’s gross father. Seems pretty gay! By the time this episode airs, it will have just released, which is why we wanted to do this episode!

Other

The Borden Dispatches a duology that reimagines Lizzie as a warrior against supernatural horrors and her parents as possessed.  

Lizzie Borden: Girl Detective novels by the late Richard Behrens are a fictional series of books where young Lizzie solves crimes.

Plus, lots of other fiction books about Lizzie, Bridget, and the murders. Wikipedia is a great place to start your search.

Lizzie Borden Podcast discusses Lizzie’s life, history, background of Fall River, has live readings from plays or radio dramas, and more! There are 11 episodes out and it seems to no longer be running.

The podcast Most Notorious! A true crime podcast also has a Lizzie Borden episode, as do The History Chicks.

If you want to learn more about Lizzie Borden, check out our full list of sources and further reading below!

Online Articles:

An awesome collection of primary source documents from the trial, inquest, and even Lizzie’s will!

Lizzie Borden Didn't Kill Her Parents (Maybe)

The Trial of Lizzie Borden

Lizzie Borden Took an Axe

Lizzie Borden: Why a 19th-Century Axe Murder Still Fascinates Us

Lizzie Borden and the 1892 Borden Murders

Representing 'Miss Lizzie'

History Goddess: Lizzie Borden Biography

How Lizzie Borden Spent Her Life After Being Acquitted

Silence is Platinum: Nance O'Neil

SISTERS ESTRANGED OVER NANCE O'NEILL

Boston Discovers Miss Nance O'Neil

Testimony of Bridget Sullivan in the Trial of Lizzie Borden

Why Are We So Obsessed With Lizzie Borden?

Early Asexual Feminists: The Asexual History of Social Purity Activists and Spinsters

Original Spin: On the History of the Spinster

Books and Print Articles:

Parallel Lives: A social History of Lizzie A. Borden and Her Fall River by Michael Martins and Dennis A. Binette

A Private Disgrace: Lizzie Borden by Daylight by Victoria Lincoln

The Life and Trial of Lizzie Borden by Charles River Editors

The Life, Legend, and Mystery of Lizzie Borden by Trey Wyatt

Lizzie: A Novel by Evan Hunter

Lizzie Borden: The Legend, The Truth, The Final Chapter by Arnold R. Brown

Videos:

Lizzie Borden Documentary

Lizzie the Musical

Chloe Sevigny's Lizzie Borden

Lizzie Borden Podcast

Most Notorious! Podcast Lizzie Borden

The History Chicks Podcast Lizzie Borden

Until next time, stay queer and stay curious!

[readwatchseedo]

Lizzie

Musical, Hayes Theatre

Musical by Alan Stevens Hewitt, Steven Cheslik-DeMeyer, and Tim Maner

This was something special for me - a musical I had never heard of by composers I had never heard of that actually turned out to be pretty damn good. Even with many of the big-name musicals, there are flat spots and parts where I tend to zone out and start planning my week or something. This one hooked me in and left me wanting to know more about the background story and all of the cast.

Most people know the famous rhyme - Lizzie Borden with an axe / gave her mother forty whacks / when she saw what she had done / she gave her father forty-one.

This musical starts with this premise, queers it, and turns it into this bizarre and completely captivating punk-rock butch-femme murdering girl power tribute. The list of what I think of as “murder musicals” is very short - Sweeney Todd and Assassins - and this is a worthy addition. Not that the lyrics are Sondheim-esque - if anything they’re the opposite, more straightforward rock’n’roll than intellectual flights of fancy, but they are perfectly suited to the story, and cleverer than they might first appear. I’m picky about lyrics, and it seems surprisingly difficult to write lyrics that are plain and heartfelt without being inane, at least judging from a lot of other musicals I’ve seen. This one passes with flying colours. Even one song that consists largely of, “what the fuck, what the fuck, what the fuck now, Lizzie...” was pure joy in its... execution.

The cast were also all amazingly talented in a “why haven’t I heard of you before?” way. Marissa Saroca was a demented powerhouse as Lizzie, Sarah Ward effortlessly shifted from rock chick to operatic as the maid Maggie (or is it Bridget?), Ali Calder was sharp and funny as Lizzie’s sister Emma, and Stefanie Caccamo as Alice, Lizzie’s neighbour and love interest, demonstrated the true meaning of “bell-like” vocals. Musical director Victoria Falconer deserves a nod to herself for essentially being a fifth member of the cast, and a scene-stealing one at that.

Anyway, loved the show - and it made me once again thankful for the Hayes and its dedication to musical theatre as a genre.

[lesbianthropp]

Oh gross it is literally impossible to play This Is Not Love with one guitar curse you Steven Cheslik-DeMeyer and Alan Stevens Hewitt and the other guys name I forgot

[thetrashthatsmilesback]

Lizzie Writers: 1) Steven Cheslik-deMeyer 2) Tim Maner 3) Alan Stevens Hewitt

official website as there is no wikipedia page: http://www.lizziethemusical.com/

Something to note, I’ve listened to this musical before, so it won’t be a blind reaction.

Also, credit to @autistic-jaredkleinman for telling me to listen to it! (seriously dude, we need to talk about this freaking show, it’s so good)

[corbettbaratta]

Lizzie Review

There’s a very good live band in Lizzie directed by Andra Velis Simon. Liz Chidester is a fun Lizzie Borden, being lovably psychotic. There is some nice choreography that professional dancers might like. The sound mixing is excellent even. It is fairly short.

That’s the positive part of this review.

I genuinely went into Lizzie pumped. I like my murderous fare as much as anyone, and hoped that someone other than museums could take Lizzie’s Borden’s admittedly flimsy story and turn it into something grander. And I don’t mean The Lizzie Borden Chronicles, the terrible TV series that aired on Lifetime. After seeing Lizzie, I thought maybe I should catch some reruns of the TV show. Might have been harsh on it.

Rock as a genre tends to be fairly vague storytelling wise, often emphasizing raw emotion. Adding giant narrative threads with boxes that have to be ticked off during rock songs isn’t the best way to work to your strengths here. Andrew Lloyd Webber has never learned this, and that’s why Jesus Christ Superstar is the last good thing he’s written.

A good rock musical could be made with some talented lyricists or a great original score! Yeah, neither of those is here. Musicians/writers/lyricists Steven Cheslik-deMeyer, Alan Stevens Hewitt, and Tim Miner all share blame for songs that are simultaneously unmemorable and annoying. The songs used riffs so tired I swore I was watching a jukebox musical. Lyrics aren’t much better unless you’re the type to forget the story takes place in 1892, or think repeating the scandalous f-word in a chorus is edgy and shocking! I give the band even more credit for having to play this score and still rock out.

Lizzie wants to be a great schlock piece, fun and scandalous and shocking. And as a connoisseur of schlock of all kinds, this musical only works in that respect if you like your burlesque PG-13. I know on this tiny stage I can’t expect Rob Zombie levels of gore (or musical talent), but when the most violence you get in an entire play about an ax murderer is some melons being hit softly and then having pieces thrown around a stage, maybe you should throw more money into squibs.

It’s an intimate play, only four characters, refreshingly all women. But we have to deal with bad writing, and because of this we never feel the true intimacy we should with these characters. I don’t care about anyone on stage, or what happens to them, or even that Lizzie and Jacquelyne Jones’s Alice have fallen into a boring romance we’re gonna pretend is shocking because it’s two women doing the do on stage! Well, they just kiss, but this play treats lesbians as you’d think three men writing about women would, as something to gawk at rather than to actually care about.

The tiny stage forces director Victoria Bussert to keep finding ways to not have the actresses bump into each other on stage. I feel like with more space, she would have been able to do more here.

Lizzie has a lot of compounding problems that result in a dull experience. It’s ambitions are all taken with hesitation. It’s Jeb Bush, wanting you to be excited and have fun, begging you to clap at its mediocrity disguised as a revolution. I don’t recommend it and suggest instead you take up a good exploitation film.

[joanofarc]

love me again this summer, the woods (1985).

it's summer time and all the boys are taking their shirts off and walking around. and i look at you, you're looking around, and i think to myself that i'm looking, too.

[gallerytest1111]

REVIEW: Lizzie, Greenwich Theatre ✭✭✭✭✭

This is the greatest American musical since ‘Sweeney Todd’. I have seen it twice this week, in the wonderful production by the American director, Victoria Bussert, that is now playing for just three weeks at Greenwich Theatre, and I do not make that claim lightly. Under no circumstances should you allow yourself to miss it.

In a way, it’s not surprising that it’s so good. The result of about 30 years of gradual gestation, it has passed through innumerable phases, conceived by and at first the work of Steven Cheslik-Demeyer (music and lyrics) and Tim Maner (lyrics and book and additional music), who were then later joined by Alan Stevens Hewitt (music, additional lyrics, arrangements). The three have laboured long and hard, in astonishingly symbiotic balance with each other, in a mutual quest to improve the show. Now, they indeed do seem to have attained what is about as close to perfection as anyone might hope to get. And, in the magnificent production, we now see, it is in all but name one of the best West End shows on offer – but available for a strictly limited period in an Off-West-End theatre.

READ FULL ARTICLE HERE: http://britishtheatre.com/review-lizzie-greenwich-theatre/

[londontheatre]

LIZZIE: Jodie Jacobs (Bridget Sullivan), Bjørg Gamst (Lizzie Borden), Eden Espinosa (Emma Borden), Bleu Woodward (Alice Russell) – Foto by Søren Malmose

There was a time rock musicals were edgy and fresh for no other reason than because they were rock musicals. But in an age where new rock shows are appearing from all sides of the globe, how do you stand out? You put an axe-murderer on stage, surround her with some of the most phenomenal voices in musical theatre, add killer guitar riffs and light the place up like a hard rock gig!

Directed by Victoria Bussert and fresh off the Danish stage, Lizzie is an all-American Rock musical based on the story of Lizzie Borden, whose parents were axed to death in their home in 1892. Eclectic to say the least, Lizzie doesn’t fit in, or even around, the box of traditional musical theatre, but then again, neither did Rocky Horror when it premiered in 1973.

The cast of Lizzie are phenomenal in terms of vocal skill. All four cast members wield stunning voices which result in countless goosebump moments and are supported unwaveringly by musical director Martin Bergmann Kong and the superb six-piece on-stage band.

Bjørg Gamst brings an eccentric edge to the title role of Lizzie, somewhat unhinged and undoubtedly manipulative, yet at the same time oddly innocent. Whatever it is, it works and it sets the tone of the production. Gamst is supported by Bleu Woodward and the two work beautifully together to carry the main narrative. Unsurprisingly, the stand out performances come from Jodie Jacobs and Eden Espinosa who are both unparalleled in their vocal ability and presence on stage. Jacobs comic timing is exceptional while the strength of Espinosa works to anchor the piece, reminding us why both are leading ladies in the genre.

The chemistry between the four leads is outstanding, however, the use of hand-held microphones does at times place a strain on the realism of the relationships. This is tied into one of the biggest hurdles faced by the production. While the lighting, sound, and costumes are brilliant, the vision of the piece seems somewhat confused. Given the minimalistic set and limited use of props, the production could be classed as a live concept album rather than a fully-fledged musical, however, the choreography and physicality of the piece suggest otherwise.

[See image gallery at http://ift.tt/1FpwFUw] The use of hand-held microphones and stylised rock movement appears intended to position the production as a musical-come-rock-concert, however, the execution isn’t there and it feels as though the production team needs to trust the score, cast and musicians to carry the show without the added gimmicks. Indeed, when you have the likes of Jodie Jacobs and Eden Espinosa on the same stage you don’t need cliché dips of the microphone stand to make it rock and roll!

Lizzie is a whirlwind cornucopia of huge voices and wailing guitars underpinned by an American legend. An exciting piece of theatre that is steadily gaining a cult following; theatre is your thing, it’s not one to miss!

Review by Cassandra Griffin

On a sweltering summer morning in 1892, in a small New England city, a prominent businessman and his wife were brutally axed to death in their home. Their daughter Lizzie Borden was the prime suspect. Lizzie’s trial was a coast-to-coast media sensation, and her story has become an American legend.

Now turned into an acclaimed rock musical, Fredericia Teater transfer the show to Greenwich for its eagerly anticipated UK premiere…

Presented by: Fredericia Teater in assaction with Aria Entertainment By: Tim Maner, Steven Cheslik-DeMeyer and Alan Stevens Hewitt Cast includes: Bjorg Gamst, Jodie Jacobs, Eden Espinosa, Bleu Woodward http://ift.tt/XtElkr

http://ift.tt/2mu9tTW LondonTheatre1.com

[larryland]

Mount Holyoke College Seeks Musical Director for Production of "Lizzie, the Musical"

Mount Holyoke College Seeks Musical Director for Production of “Lizzie, the Musical”

Mount Holyoke College, Department of Theatre Arts January 13

Looking for musical director for production of “Lizzie, the musical” by Steven Cheslik-DeMeyer, Alan Stevens Hewitt and Tim Maner, directed by Michael Ofori March 5-8

This raucous four-woman rock opera delves into the Lizzie Borden myth and has been hailed by critics both here and abroad.

Paid position.

[perry-tannenbaum]

40 Whacks and Some Heavy-Metal Slaying

40 Whacks and Some Heavy-Metal Slaying

Preview: Lizzie Borden: An American Musical By Perry Tannenbaum

  When we first learn about Lizzie Borden, it’s through an antique schoolyard rhyme, and there’s no doubt. Miss Borden was an axe murderer – and not a dainty one. Forty whacks for Mom, a pause for reflection… then 41 for Dad. But in the real world back in 1892, Borden was acquitted of the gory double murders that had happened at her…