THEATRE REVIEW: LIzzie - Hope Mill Theatre, Manchester.

I really love Hope Mill Theatre. It’s vibe, the welcome you receive from the team, the versatility of the theatre space and the determination of its creative and technical team to present high quality productions. Its current offering, an in-house production of the true crime punk rock musical ‘Lizzie’ tells the story of the notorious Lizzie Borden who (allegedly) hacked her father and stepmother to pieces in the summer of 1892.

By all accounts Lizzie Borden was an emotionally neglected and sexually abused woman, as was her elder sister, Emma. Their life in the Borden household was not a happy one. 

I first came across the story of Lizzie Borden when I saw a 1987 production of Blood Relations by Sharon Pollock. I can’t say I really enjoyed it. I was even a bit bored. Nothing could be further from that when it comes to what I saw in this early this evening show. Brilliant. Absolutely stunning. I warn you; I may go on a bit now!

To be fair, there has been significant buzz around this, the first UK built production of ‘Lizzie’. On entering the theatre, I started to see why. Andrew Exeter’s imaginative set design managed to cleverly merge the barn like exterior of the Borden home with its frugal and austere interior. It’s opening centre piece, a rotating silk lined children’s toy box from which a shiny axe proudly stood, played a musical ditty, bright, simple, childlike and eerily sinister. Gaps in the barn wall allowed us glimpses of what lay behind and created depth and layered intrigue. Pigeons punctuated the rafters throughout the space, a taste of the carnage to come (it is said that Lizzie Borden was finally tipped over the edge and (allegedly) murdered her family after her father spitefully bludgeoned the birds she loved and cared for). But for me, Exeter’s design moves from great to brilliant by his use of lighting which makes this production visually stunning throughout. From the gawdy period wallpapers to the cell like strips; the blood dripping savagery of the murders to the angel wings of the acquitted Lizzie. Working in conjunction with Rachel Tansey’s Costume Design which combined traditional dress with Steam Punk themes very successfully, this is stunning design work throughout.

The cast of four women, led by Lauren Drew as Lizzie, were superb. Drew’s voice has such range and passion and her delivery is powerful both technically and emotionally. Her characterisation of Lizzie is detailed and nuanced and took us on a journey from quiet, anxious and abused child to perversely liberated woman. Mairi Barclay as Bridget immediately connected with the audience and held them throughout with her acerbic commentary and dynamic characterisation. Maiya Quansah-Breed presented a graceful, yearning, loving and questioning Alice and Shekinah McFarlane pulled no punches as the forceful, determined and assertive elder sister Emma. Four great actresses, four great singers, four great individual performances, but combined together in ensemble, one excellent unit. Whether akin to The Slits in the musical number ‘Why Are All These Heads Off’ or reminiscent of All Saints in ‘Questions Questions’. Throughout this piece, I was reminded of many great female musicians and groups; from Eva Cassidy to Lunachicks, Debbie Harry to Girls Aloud, Arlo Parkes to The Sugarcubes. Bravo those women!

William Whelton’s direction is skilful and visionary, slick and strong and his talents as choreographer are never in doubt here. Whelton has a great sense of place and an acute eye for shape. Throughout this show he uses multiple dance genres to express his ideas and communicate the writer’s intentions. The choreography works beautifully; its range is diverse, from ‘Burn The Whole Thing Up’ with clever reflections and shapes of female strength to the beautiful ‘Shattercane And Velvet Grass’ which uses repetition and echo flawlessly.

The (all female) band, under Katy Richardson’s and Honor Halford-Macleod’s supervision and direction are tight and skilled, whether thrashing out the hard punk ‘Somebody Will Do Something’ or gently leading the hymn like ‘Watchmen For The Morning.’

All in all, what can I say? I loved it. No, I loved, loved, LOVED it. Thank you to the whole production team. Best Sunday teatime I’ve had in a very long time… and if you haven’t got a ticket yet, get one!

Reviewer - Lou Kershaw
on - 3.9.23

Lizzie plays at Hope Mill Theatre until 30^th September and then goes on a UK tour until 16^th December.