REVIEW: Lizzie Borden, Great Chops

by Laura Kennelly, CoolCleveland.com
March 30, 2012

New England turned bloody one hot summer in August 1892 when someone viciously hacked Mr. Borden and his second wife to death. Many suspected his daughter Lizzie did it, but they couldn’t pin it on her so she went free — if you can call “free” being remembered forever in a jump-rope rhyme as the gal who took an axe and “gave her mother forty whacks and when she saw what she had done, gave her father forty-one.”

Flash forward over a hundred years: today Lizzie Borden is a rock musical and the latest collaboration between PlayhouseSquare and the Baldwin-Wallace College music theatre program.  The tragic tale created the basis for a smashing and witty celebration at the 14th Street Theatre Friday night thanks to faux slaughter and plenty of talent as dished out by a stunning quartet of dangerous young women and a bouncy rock band.

This resurrection of the Fall River, Massachusetts murder case was written by Steven Cheslik-Meyer, Tim Maner, and Alan Stevens Hewitt and directed by Victoria Bussert. The score spins between hard rock, ballad and church music and underscores the dissonance between our ideas about nineteenth-century decorum and our twenty-first century delight in things brassy, brash and sassy.

Leading the pack was Shannon O’Boyle as Lizzie, a woman who spoke and sang on the airy edge of homicidal madness, moving from depressed victim of sexual abuse to mistress of frenzied,  delusional madness and back again. Sophie Brown (Bridget Sullivan the Irish maid) was amusingly tough as the earthy and wry maid who didn’t give a rap for her employers. Rachel Michelle Jones channeled Grace Kelly as the beautiful Alice, the Borden’s neighbor who may have a very very close personal relationship with Lizzie. Striking Ciara Renee as Emma Borden, the oldest Borden daughter, manages to be so savage and fierce that it’s hard to believe no one accused her (of course, she said she was out of town when the murders took place). The show, which had only four performances Fri 3/30 to Sun4/1, was double-cast with Keri Rene Fuller (Lizzie), Andrea Leach (Emma), Elizabeth Wehrli (Alice), and Genna Paige Kanago (Bridget) starring in alternate performances.

Although “Forty Whacks,” a thumping raucous tune belted out by Lizzie, Emma, Alice, and Bridget, is likely to be the main hummable tune after the show, there’s also a snip of beauty here and there, such as in the soulful “Watchmen for the Morning” sung by sisters Lizzie and Emma. Incidents taken from historical accounts show a brutal household. Papa Borden killed all Lizzie’s pigeons — “Why Are All These Heads Off?” — and he may have abused the girls — “This Is Not Love.” And why did Lizzie burn her dress after the murders? “Burn the Thing Up.”

In the first act the costumes are modest 19th-century garb, but for the second act the dresses come off and the black corsets stay on (Lizzie’s, of course, is white; the others sport black). The talented cast proved that no show needs more than a minimal set if you can’t tear your eyes or ears away. Much use is made of benches and, of course, a table set for whacks. And there’s plenty of room for plenty of bad things to happen in Fall River and good things to happen in Cleveland. Rock on ladies! And next time, how about a longer run?

B-W Takes a Whack at Lizzie Borden

By Kate Miller, examiner.com
March 30, 2012

New York City’s Tiny Mythic Theatre Company first produced LIZZIE BORDEN in 1990. The show was expanded into a full-length, two-act musical in 2006. It was named in The Advocate’s “Top Ten of 2009” and was nominated for three Drama Desk Awards. According to the press release for the current B-W production, “In this gripping new musical, a powerfully passionate rock score leads us deep into the darkness of the Borden house and gives us a glimpse of the silent suffering endured by its female residents.”

Victoria Bussert, director of B-W’s music theatre program, is “…thrilled to be co-producing the first college production of the award-winning off-Broadway hit, LIZZIE BORDEN with PlayhouseSquare. The all girl cast will be rocking out this wickedly funny murder mystery based on the infamous crime of the century.”

The 14th Street Theatre is an intimate and cozy venue, perfect for an evening of power vocals and double murder. The set is stark: no more than a few mic stands, some benches and a black chair that looks like an evil, blood-drenched throne. The lighting is sparse and intentional – limited gobos, spots and shadows set a feeling of that something is amiss in the Borden home. Bussert did a great job using the small space and working the shadows. Her staging is effective and clever, and Gregory Daniels’ choreography gives just enough movement between the chaos of the story and the singing.

Friday’s opening show featured the “Axe” cast of Shannon O’Boyle as title character Lizzie Borden, Ciara Renée as Lizzie’s sister Emma Borden, Rachel Michelle Jones as neighbor Alice Russell, and Sophie Brown as maid Bridget “Maggie” Sullivan. No holds barred - these women rock. Together, they produce some crazy harmonies with mad power. As an ensemble, they kill it.

O’Boyle’s innocent face and convincing portrayal of Lizzie’s back story gives an eerie and effective view of her as the victim in the ordeal. Renée’s wild facial expressions and raw energy give the character of Emma an intense, angry vibe. Although her accent is a bit on-again-off-again, Brown’s rendering of Bridget provides dark comic relief with the perfect amount of sass. Finally, even though Jones’ voice may be better suited for a more traditional musical theater style, she adequately plays the next-door-neighbor-with-a-big-secret-of-her-own. Singing as a group, the harmonies of the four firecracker females are stunning. All of the actresses shine brightly when singing together… or thrashing together, as it may be in this case.

The “Blood” cast features Keri Fuller as Lizzie, Andrea Leach as Emma, Elizabeth Wehrli as Alice and Genna Kanago as Bridget.

Along with giving great performances, the ladies look amazing. Charlotte M. Yetman did an incredible job bringing the cast from the late 1800s repression of the first act into the punk/leather/pseudo-80’s look that unleashes a whole new vibe for act two. A special nod also goes to hair and make-up designers Akeem Campbell and Mickey Ryan for those same transformations. Individual kudos go to Diana Sidley for her cool corset construction.

Notice should be given as well to Music Director Matthew Webb and the kick-ass band that rocked the entire show with concert energy – it was definitely a crowd-surfing worthy performance.

The only complaint in regards to the whole show? There isn’t enough blood! Perhaps it’s just personal opinion, but if you’re going to do an axe-wielding murder piece, go all out!

Regardless, the very loud, raucously fun show is a must-see. It’s dark, it’s twisted, it’s disturbing. As Blogcritics Culture puts it, “Forty whacks to anyone who misses it.”

LIZZIE BORDEN plays this weekend at the 14th Street Theatre at PlayhouseSquare Friday, March 30, at 7:30 p.m., Saturday, March 31, at 5:00 p.m. and 8:30 p.m., and Sunday, April 1, at 7:00 p.m.  For tickets, call 216-241-6000 or visit www.playhousesquare.org. LIZZIE BORDEN contains mature content. Please be advised.

See real Lizzie Borden photos HERE.

See B-W Rehearsal Video of the show HERE.

PlayhouseSquare and Baldwin-Wallace College Present Premiere of LIZZIE BORDEN

By Mark Horning, Examiner.com
March 3, 2012

PlayhouseSquare and Baldwin-Wallace College collaborate for a fifth year to present the Midwest regional premiere of LIZZIE BORDEN, a rock musical directed by Victoria Bussert, at PlayhouseSquare’s 14th Street Theatre.

Performances will be held Friday, March 30, through Sunday, April 1, 2012.

Tickets start at just $10, and are available by calling 216-241-6000 or visiting www.playhousesquare.org.

Exploring America’s first and favorite axe-wielding double-murderess, LIZZIE BORDEN recounts the story of a Victorian hometown girl who was acquitted of taking an axe to the skulls of her parents in 1892. In this gripping new musical, a powerfully passionate rock score leads us deep into the darkness of the Borden house and gives us a glimpse of the silent suffering endured by its female residents.

Victoria Bussert, director of B-W’s music theatre program, has spearheaded the collaboration with PlayhouseSquare, bringing the regional premiere of Brooklyn to Cleveland in 2008, the first production of [title of show] outside of New York in 2009, the London Stage Version of Chess in 2010, and, in 2011, the regional premiere of Passing Strange. Among numerous Off-Broadway, National Tour, Regional and Opera credits, Bussert directed the first ever in-repertory productions of La Bohémeand RENT at Baldwin-Wallace College last spring.  Bussert is “…thrilled to be co-producing the first college production of the award-winning off-Broadway hit, LIZZIE BORDEN with PlayhouseSquare.  The all girl cast will be rocking out this wickedly funny murder mystery based on the infamous crime of the century.”

Featuring Baldwin-Wallace College music theatre majors, LIZZIE BORDEN marks the fifth consecutive year of collaboration between PlayhouseSquare and B-W’s renowned music theatre and arts management programs.  This production features a talented double-cast of Keri Fuller and Shannon O’Boyle as Lizzie, Andrea Leach and Ciara Renée as Emma, Elizabeth Wehrli and Rachel Jones as Alice and Genna Kanago and Sophie Brown as Bridget.  B-W senior arts management students produce the show under the guidance of PlayhouseSquare staff.

New York City’s Tiny Mythic Theatre Company first produced LIZZIE BORDEN in 1990. The original was followed by a full production by the New York City producing organization, HERE. The show was expanded into a full-length, two-act musical in 2006 and premiered at the Living Theatre in 2009. LIZZIE BORDEN was named in The Advocate’s “Top Ten of 2009” and was nominated for three Drama Desk Awards. LIZZIE BORDEN features music and lyrics by Steven Cheslik-DeMeyer; books, lyrics, and additional music by Tim Maner; along with music and additional lyrics by Alan Stevens Hewitt.

The Midwest regional premiere of LIZZIE BORDEN will take place at the 14th Street Theatre at PlayhouseSquare Friday, March 30, at 7:30 p.m., Saturday, March 31, at 5:00 p.m. and 8:30 p.m., and Sunday, April 1, at 7:00 p.m.  For tickets, call 216-241-6000 or visit www.playhousesquare.org. LIZZIE BORDEN contains mature content. Please be advised.

Scott Plate, Assistant Professor of Music Theatre and Music Theatre Program Manager at B-W, will offer pre-show talks on Friday, March 30, at 6:30 p.m., Saturday, March 31, at 7:30 p.m., and Sunday, April 1, at 6:00 p.m. in the Idea Center ’s Westfield Insurance Studio Theatre, 1375 Euclid Avenue .  A post-show talk with the writers will be offered on Saturday, March 31 following the 8:30 p.m. show along with a post-show cast talkback on Sunday, April 1, in the 14th Street Theatre.

ABOUT PLAYHOUSESQUARE

PlayhouseSquare is a not-for-profit performing arts center whose mission is presenting and producing a wide variety of quality performing arts, advancing arts education and creating a destination that is a superior location for entertainment, business and residential living, thereby strengthening the economic vitality of the region.

ABOUT BALDWIN-WALLACE COLLEGE

Baldwin-Wallace College is a private, liberal arts based Methodist-related college offering bachelor’s and master’s degrees, certificates and professional education programs.  Founded in 1845 in Berea , Ohio , Baldwin-Wallace College was one of the first colleges to admit students without regard to race or gender. That spirit of innovation and leadership has evolved into a personalized approach to education that combines B-W’s historical strengths in the liberal arts with vast opportunities for field experience, internships, study abroad, leadership opportunities, community service and regular mentoring. The result is an individual four-year B-W Action Plan that produces graduates distinctively equipped to meet the challenges of a changing world.  The College enrolls more than 3,000 undergraduate students in 50 academic programs and 600 part-time evening/weekend and 800 graduate students.

Baldwin-Wallace is one of a few liberal arts colleges in the nation with an internationally respected Conservatory of Music. The Conservatory enrolls more than 300 students in 11 academic programs; engages 24 full-time and 36 adjunct faculty who serve as teachers, mentors, and performing professionals in the Cleveland area; and features the oldest collegiate annual Bach Festival.  The Conservatory’s Outreach program serves over 3,000 community members who participate in private lessons, group classes, ensembles, and summer music programs.

ABOUT THE MUSIC THEATRE PROGRAM

Music theatre performance training, directed by Victoria Bussert, professor and head of the Music Theatre Program, at Baldwin-Wallace College is among the finest in the nation with a dynamic curriculum focused on mastering acting, voice, and dance.  Workshops by professionals prepare students for the business side of music theatre. B-W performance faculty members maintain active professional careers giving B-W students a decisive edge in a competitive marketplace. Current students perform professionally in greater Cleveland , nationally, and on Broadway. Graduating students perform a Senior Showcase attended by over 200 industry professionals, and an overwhelming majority of graduates sign with agents shortly afterward.

ABOUT THE ARTS MANAGEMENT PROGRAM

The Baldwin-Wallace Arts Management program, directed by Bryan Bowser , Assistant Director of the Conservatory for External Affairs,prepares students to integrate the artistic and business elements of a career in the arts. Graduates of this program look to careers in the marketing, public relations, development, operations, fundraising, curatorial, front-of-house and education departments of not-for-profit and for-profit arts organizations including: symphony orchestras, theatre, opera and ballet companies; private dance studios; art museums and galleries; national, state and local arts councils; foundations; presenting organizations; concert venues; broadcast and cable television stations; film companies; and record labels. Students complete requirements in: business, an artistic discipline (music, theatre, dance or visual art) and arts management, including classes and internships. Program faculty includes professionals from the field linking graduates directly to job and internship opportunities.