Review: Lizzie, at the Hope Mill Theatre, Manchester

So... it's been a hot minute hasn't it! Well, I have been busy with something called real life...! 

1. I've been travelling a fair bit. To Paris (including Disneyland), and to Norway
2. I've started volunteering at the Lowry (any shows I watch working there will not be reviewed on here, only when I see something as a regular theatre-goer BUT they will still be eligible for any categories in my end-of-year piece)
3. And most importantly... I have a new job!!!! 

So yeah, been a while since I have been to the theatre as a spectator and had something to write about. And I don't want to delay you any further.

With this one, get ready to call bloody murder! 

Lizzie is a musical following the story of the infamous Lizzie Borden, who in 1892, (allegedly) killed her parents with an axe. Yes you read that right. 

Lizzie's story to the stage began in 2009, and has since become one of those small shows that has its following, but isn't produced very often. Given the subject matter, it is perhaps not the easiest sell to producers. 

But this is why we love the Hope Mill so much

Similarly with Head Over Heels and Animal earlier this year, they are always daring in the work they produce. 

The first thing you see when you walk into the auditorium is straw at your feet. Looking on your left to the stage, you're transported into a barn. There are pigeons everywhere, even up on the lighting rig. 

In the middle, there is a music box, lit up purple, and playing a lullaby. Only instead of a ballerina twirling round, it is an axe! 

It's very creepy. 

We're then introduced to the characters of this (very) dark story. Lizzie herself is played by Lauren Drew (Legally Blonde), belting her face off, but also showing a vulnerability I haven't seen from Lauren before (didn't see her play Fantine). This is the first role I have seen her show how good of an actress she is. Lizzie is a lot: vulnerable, child-like and scared in the beginning, to... not as much after she picks up that axe. 

Sharing the stage with Lizzie, are the perspectives of her older sister Emma, neighbour Alice, and Irish maid Bridget: played by Shekinah McFarlane (SIX), Maiya Quansah-Breed (RENT), and Mairi Barclay (Mother Goose). They all get their moment to let rip and melt your face off with their vocals. And in Barclay's case, get a laugh or two out, as she has a lot of the comedic lines, delivered in a strong Irish accent. 

Lizzie's score, written by Steven Cheslik-deMeyer, Tim Maner and Alan Stevens Hewitt, is best described as heavy rock. There's a lot of loud headbangers in there you want to stomp your foot too (not too much, Hope Mill is only small). There's notes of Pink, early Paramore, Led Zepplin and other similar rockers in there; but also, the softer moments, such as The Dress, gives off major Florence and the Machine vibes. It's a score I think is underated, and I hope more people come to appreciate it. 

(Even if it's added to your "vent your rage playlist". Why Are All These Heads Off? is the perfect example of this)

I didn't really have any expectations for this. Only that the Hope Mill were producing, the cast involved, and the chance to see something very rarely produced. This is in fact the first UK-made production of the show. 

I would recommend this for fans of true crime stories; the ones in what makes someone a serial killer. One that is strangely empowering - you get more context when you watch the show, but the power comes from Lizzie getting to the point when "enough is enough" and takes her destiny in her own hands.

 For theatre fans, I would say fans of Heathers, SIX, Chicago and Spring Awakening in particular would enjoy this. If you're open, I would definitely give this show a chance and support the Hope Mill. If you cannot make the run here in Manchester, it is doing a small UK tour, including a run at London's Southwark Playhouse Elephant.