In 1892, Lizzie Borden took an axe and gave her (step)mother 40 whacks, or her uncle did, or her sister, or maybe the maid? Despite the improbability of the case being solved, everyone has a pet theory on what happened.
6th Street Playhouse presents its theory with its production of the 2009 rock opera Lizzie the Musical (book by Tim Maner, music by Steven Cheslik-DeMeyer and Alan Stevens Hewitt, lyrics by Steven Cheslik-DeMeyer and Tim Maner). The show runs in its GK Hardt Theatre in Santa Rosa through Oct. 27.
Director Pat Nims has put together two separate casts and split the performances between them to give more opportunities to talented female-identifying actors. They are listed as the “Shattercane” cast (which I did not see) and the “Velvet Grass” cast, with Andee Thorpe as Bridget Sullivan, Nicole Stanley as Alice Russell, Megan Bartlett as Emma Borden and Malia Abayon as Lizzie.
Maner and Hewitt conceived this musical as a ’90s style Riot Grrrl rock show where the epitome of feminist self-determination is showcased by the brutal axe murder of an incestuous parent by their (maybe) closeted lesbian daughter.
All four actors have the ultra-rare combination of acting and rock chops. Every single one of those women holds the stage on their own, and yet, like every good band, they are in harmony—musically and in their storytelling and stage presence.
April George’s lighting design is hands down one of her best. Of special note was the moment Lizzie opened a book on poisons. The light isolation at that moment is a seemingly simple trick of stage magic that is anything but simple. The band (musical director Christina Howell) is amazing. They are so good that the playhouse offers earplugs for the less punk-acclimated audience members. Jonathen Blue’s costumes and choreography are rocking, both literally and figuratively. Even the props (Rachael Anderson, Ben Harper) are great.
Despite all that, there is the undeniable issue of this young woman’s story being told entirely from the male gaze. The play is even blocked so that the women gyrate and thrash in corsets and torn stockings, surrounded by the literal gaze of the men in the band. Add to that the script’s depiction of lesbianism being used as a cynical way to manipulate people, and it’s hard to justify this show being sold as a feminist solidarity play.
If one has ever wanted to see a well-done show with completely the wrong idea behind it, Lizzie the Musical might be the play.
‘Lizzie the Musical’ runs through Oct. 27 in the GK Hardt Theatre at 6th Street Playhouse, 52 W. 6th Street, Santa Rosa. Thurs.-Sat., 7:30pm; Sat.-Sun., 2pm. $29–$48. 707.523.4185. 6thstreeetplayhouse.com.
Hi Beulah, thank you for coming to see “Lizzie the Musical” and for your review of the performance you attended. As one of the performers mentioned in this article, I am sorry that you found fault in the messages conveyed. Speaking only for myself, I would like to clear up a few topics for those that read the comments:
1. My second act costume was designed with my input. Rape Culture be damned, that outfit makes me FEEL good in my own body and EMPOWERS me to give such COURAGEOUS performances. As a 46-year-old, plus-sized woman, I CHOSE to wear that costume for ME and my character. That costume depicts the new-found freedom for my character to be herself, without society’s constricting ideals and expectations masking every inch of her body from the neck down (see Act I costume).
2. The male musicians in the show have been nothing but professional and courteous throughout our rehearsal process and not once has their “male gaze” made me feel… as a matter of fact, I haven’t noticed “male gaze” from any member of the band, cast, or creative team!
3. Not once can I think of a place in the show where I was choreographed or directed to “gyrate and thrash” in a sexual manner. Head banging and other strong rock moves to complement the music is what I have in my choreography notes and what I see in our rehearsal videos. I even recall when Director Pat Nims and Choreographer Jonathen Blue pulled some of the choreography back because it came across as sexual to them.
4. What you didn’t see (part 1). More than once, a grown man was close to tears of pride and joy for being able to bring this show to our community, to provide a voice against sexual violence toward women, and to support trauma-informed theatre. Pat pointed out many times throughout the rehearsal process that this was not his story to tell and he was doing everything in his power to help it be told.
5. What you didn’t see (part 2). The safe space created for us by the creative team that fostered creativity, supported reflection and personal growth, and established tools and communication protocols to protect our mental health while dealing with the heavy content in the show. Ally Bray, brought in as an intimacy coordinator, not only helped our Lizzies and Alices connect for their scenes on stage, but helped all of us connect with ourselves and each other, as well as DISconnect from our characters at the end of the day.
6. What you didn’t see (part 3). Pat’s carefully curated Spotify playlist, distributed prior to rehearsals began, containing Riot Grrrl music to (re)introduce us to the genre and inform our character development, as needed. We heard and felt their rage and could relate. Their outlet and platform are now ours.
I completely respect your job as a theatre reviewer and I 100% understand what it’s like to have my work be critiqued, invited or not. That being said, I challenge you to check your biases and evaluate the origins of judgement and critique. This show IS a feminist solidarity play, from initial creation to final curtain call and beyond. In addition to the above, I iterate:
• Three men collaborated to create a musical outlet for all of the pent-up rage held around violence towards women.
• A man doing everything in his power to get this show produced in a manner it deserves.
• The story of two adult sisters saying, “enough is enough” and finally doing something to end 30+ years of their father’s household tyranny and incestuous rape.
• The story of a young woman with a secret, standing up for what she believes is right. Alice’s strength and courage to profess her love and then testify against the one she loves… sounds like a compelling lesbian love story to me!
• Eight badass women, along with a stellar band and fantastic production company, supporting each other in the retelling of a childhood rhyme in a way that opens hearts and blows minds.
• The show’s program (AKA valuable advertisement space) provides local and national resources to meet the self-empowerment needs of a variety of audience members.
Again, thank you for coming to the show and the review from your point of view. It IS “a well-done show” -thank you for those words and the other accolades. I am honored to part of this production and a new member of this community!
Regards,
Andee Thorpe
“Bridget” Velvet Grass Cast
Thank you Andee. I haven’t gotten to see your cast yet, but saw Shattercane last weekend. Nothing is gratuitous about this production. It’s a straight up great rock setting of a mysterious Victorian story. And all the musical theater elements are great – music, sets, costumes, and especially the TV displays!
Thanks for your extensive clarifications of what went into this production.