Words by: Angela Pelham (she/her)
Content Forecast: This review has mentions of death/ murder. Please take heed of the show’s other content warnings before watching.
WITCH Music Theatre are swinging their axe into Circa Theatre from 10th August – 7th September with award-winning musical Lizzie; an electrifying modern rock opera that speculates on the behind-the-scenes of the infamous Lizzie Borden murder trial.
“Lizzie Borden took an axe, gave her mother forty whacks. When she saw what she had done, gave her father forty one.”
Set in 1892, the musical reimagines the events leading up to the brutal murders of Lizzie’s father and step-mother, for which Lizzie was the prime suspect. Following through on its promises of revenge, betrayal, sex, and bloody murder, Lizzie delves into the titular character’s psyche and speculates on her potential motives. Even those unfamiliar with the Borden case will find themselves thrilled and engaged, as the musical’s lyrics and book skillfully guide the audience through the gripping narrative.
The production is carried by a powerhouse all-female cast alongside a live band. Bailea Twomey shines in the titular role, showcasing an impressive vocal range and commanding stage presence. Her portrayal of Lizzie is both vulnerable and fierce, perfectly capturing the complex psyche of a woman driven to the axe’s edge. Lizzie’s older sister Emma Borden (Jane Leonard), her neighbour Alice Russell (Rachel McSweeney), and housekeeper Bridget “Maggie” Sullivan (Aimée Sullivan) play equally crucial roles in the unfolding drama, and each bring depth, intensity, and unapologetic emotion to the stage. Twomey and McSweeny expertly bring both tenderness and betrayal to their onstage relationship, and their duets are tear-jerking. Special mention to Sullivan, who also did the intimacy direction, for these beautiful moments of choreography. If you’re a fan of lesbian period dramas, you’re sure to enjoy Lizzie for this relationship alone. Leonard delivered a commanding portrayal of a protective older sister—the bond between Twomey and Leonard was striking, and explored the themes of oppression and family. In addition to her intimacy direction, Sullivan’s performance of Bridget was undoubtedly stand-out; her character choices and quirks were memorable, her facial expressions were eye-catching, and her head-banging was definitely the best in the cast.
Each performer had their moment to shine with an awe-inspiring, jaw-dropping, how-the-fuck-are-you-doing-that vocal belt, often accompanied by whipping out a handheld microphone in a SIX-esque rock concert homage. The band's performance, led by conductor Hayden Taylor on piano, with Steve Morrison on guitar, Grace Kendrick on bass, Esther Lee on cello, and Bec Watson on drums, provides the perfect backdrop for the high-energy performances on stage. The audience's reaction was a clear indicator of the show's success. Outrageous rounds of applause followed every song, and by the time the final note was played, the standing ovation was inevitable.
The production’s design elements were also impressive. Set designer Joshua Tucker-Emerson transported Circa One to the downstairs greeting room of an 1890’s home. The cast performed around the set with polished ease, and these pieces seamlessly transitioned between scene and song. With the band on either side of the stage, the set had a clear playing space, where the cast could perform inside of, outside of, and through (thanks to a working door, and functional steps leading to the unseen “upstairs”). Tables and balustrades offered opportunities for the cast to dramatically drape over. Without giving any major plot points away, I will also say that the practical effects were spectacular. Costume designer Rhys Tunley created a visual feast—every costume piece was intricate, dynamic, and perfectly suited to the show’s punk-rock aesthetic. Lighting Designer Alex Fisher’s work deserves special mention; the dynamic use of lighting elevates the tension and drama, was visually beautiful, and played with both genres of rock and musical theatre. Impressive blinders facing the audience were used to emphasise musically dramatic moments and harkened to a rock show. Please note that Lizzie does contain flashing flights. Additionally, each and every spotlight was hit with killer precision by the actors, which is no small feat for Opening Night; this goes to show what a well-oiled machine the Lizzie cast and crew are.
Lizzie is a must-see for fans of rock, musicals, true-crime, and strong, complex women. The cast and crew bring a vibrant energy to the stage, celebrating both women’s rights and women’s wrongs. The show is unapologetically bold, embracing its rebellious nature and pushing the boundaries of what musical theatre can be. WITCH Music Theatre has once again proven why they are among Wellington’s top musical theatre creators, delivering a show that is both technically flawless and emotionally charged. If you’re looking for a night of thrilling theatre that absolutely slays–in every sense of the word–Lizzie is not to be missed.