New Moon
Lizzie & Co.
Rock-and-roll was barely old enough to drink when somebody asked playwright Sam Shepard his opinion about the rock musical. I’ve not been able to run down the exact quote, but the Shepard, who sometimes drummed with The Holy Modal Rounders, thought rock musicals and operas would remain theoretical until somebody composed one that was as “violent” as “a Who concert.” As someone who tends to rate concerts by the degree to which they’ve “ripped my head off,” or “melted my face,” I’ve always agreed with Shepard’s assessment. By that measure, it’s probably fair to note that, in spite of the city’s storied music history, the rock musical didn’t arrive in Memphis until October 2018 when Lizzie — the Lizzie Borden ax-murdering musical — opened at TheatreWorks. I say this as a veteran of Hair, American Idiot, Rock of Ages, Rocky Horror, Hedwig and the Angry Inch, and a dozen more electric guitar musicals. But when it comes to pure rock concert muscle, New Moon’s Lizzie kills the competition. Dead.
Lizzie‘s soundtrack is show-tune aware, but with a punk heart, a goth soul and roots anchored deep in the sisterhood of classic rock. Delivered in an audience-aware, concert-style format, songs like “Why Are All These Heads Off,” and “What The Fuck, Lizzie?” make The Who’s Tommy sound about as quaint and orderly as the collected love songs of Lerner & Lowe. It’s the rare Halloween season treat that should appeal to most traditional theater fans while flirting hard with a quality I’m going to call Goner appeal.
Lizzie Borden Rocks Theatreworks
The story of ax-murderess Lizzie Borden (and her famous 40-whacks) is sung, shouted, and shrieked at the audience by a strong, all-female cast of 4. The book strays far enough from the facts as we know them to qualify as historical fiction, but the details of what actually happened when Mr. & Mrs. Borden were murdered, are beside the point in this bloody portrait of a place where sexual abuse and the status quo walk hand in glove. Director Kell Christie keeps the sex and money elements of the narrative front and center while making the overall experience more like an arena concert than a piece of musical theater. Melissa Andrews’ lights are on point, and Eileen Kuo’s music direction drives hard without sacrificing dynamics. A nearly perfect ensemble showcases the acting and vocal talents of Christina Hernandez, Annie Freres, Joy Brooke Fairfield, and Jaclyn Suffel.
Lizzie closes Sunday, Oct. 28, so there aren’t many chances left to witness this dreadful tale of horror and woe. You don’t want to miss this one.
Pay-What-You-Can Wed. Oct 24.
