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A CurtainUp Review
Lizzie Borden
" Lizzie Borden took an axe/Gave her mother forty whacks/When she saw what she had done/Gave her father forty-one." The ditty is so well known few people remember that a Massachusetts court actually acquitted Lizzie of the crime. Her infamy lives on because, although there were no witnesses, there was ample motive and circumstantial evidence to convict, and to this day no other culprit has been identified. Steven Cheslik-DeMeyer, Tim Maner and Alan Stevens Hewitt, the creators of the rock musical Lizzie Borden, don't pay much attention to this fine point either. But their show is so extravagantly over-the-top, its music has such energy and thrust few people will care. Maner directs a cast of four rock divas who represent some of the principal characters in the drama (curiously, but quite effectively, Mr. and Mrs. Borden are not included). His skillful use of a small stage to portray such an intense and sweeping drama (the O.J. Simpson trial of the 19th century) is extraordinary. Jennifer Fellner heads the cast as Lizzie, outwardly a sweet ingénue, but inside conniving, angry and somewhat maniacal. Lisa Birnbaum is her older sister Emma, independent, sexy and manipulative. Marie-France Arcilla plays Alice Russell, the Borden's next-door-neighbor and perhaps Lizzie's lover, a woman who gives Lizzie comfort until, in Lizzie's hour of need, she betrays her. Carrie Cimma completes the cast as Bridget (called Maggie) Sullivan, the spiky-haired Irish maid and the play's evil muse. The creative team has wisely chosen to focus not so much on the events as on the tangled relationships and the intense emotions that led up to the murder: Lizzie and Emma's hatred of their stepmother, Mr. Borden's abuse of his daughters whom he apparently intended to disinherit in favor of his wife, Alice's desire for Lizzie, Bridget's disdain for the entire family. And they've told this story almost entirely in song. However, unlike the scores of so many rock musicals, this one never becomes repetitious or boring. The powerful belting of the four women and the clever way the songs are mixed in with the action contribute hugely to the effectiveness of the music. Cheslik-DeMeyer and Maner's lyrics effortlessly mix irony, sincerity and poetry. Rock ballads such as Lizzie and Alice's "Will You Stay?" contrast dramatically with the driving "House of Borden." The possibility that the story of Lizzie Borden would make a great rock musical is not at all obvious. The murder took place at the end of the 19th century in a small, peaceful New England town. None of the characters was particularly interesting. In fact Lizzie died of pneumonia twenty-five years later in the town where she was born. Cheslik-DeMeyer, Hewitt and Maner have taken certain liberties with the story but their revisionist history is certainly no more extravagant than the conjectures offered in a host of books, movies, plays and television specials that have entertained and titillated generations of Americans. Besides, who cares about fact when fiction is so much fun? Editor's Note: Besides being funk, it's also priced to be flagged up with our piggy bank icon for shows costing $25 or less.
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