Back row, l to r: Savannah Blackwell as Emma, Brigid Wallace Harper as Bridget, and Sydne Lyons as Alice. Caroline Graham as Lizzie (kneeling). Photo by Cameron Whitman.
Murder is always a little more entertaining under flashing bright lights and with a punk-rock score. This is especially the case when it surrounds one of the most infamous, acquitted cases of the 1800s: the murder trial of Lizzie Borden. Whether you’re already familiar with the case through the eerie nursery rhyme or looking to pregame the recently announced season four of Ryan Murphy’s drama series, “Monster” (highlighting Miss Borden), Keegan Theatre’s “Lizzie: The Musical” is sure to get your heart racing.
This ensemble…showcases the diversity and sheer talent of the DC theatre scene.
As a self-proclaimed, true-crime aficionado, I was already versed in the case of Lizzie Borden, but not familiar with Steven Cheslik-deMeyer, Tim Maner, and Alan Stevens Hewitt’s 2009 musical based on the trial. For those less acquainted, in August 1892, Andrew and Abby Borden were violently murdered with an axe in their home. The key suspect? Andrew’s youngest daughter, Lizzie. After investigating Lizzie’s older sister, Emma (who was away during the murders), the family’s maid, Bridget (or “Maggie,” as the Borden sisters refer to her), and Lizzie’s friend and rumored lover, Alice, Lizzie was acquitted by a jury, with a murderer never charged. The punk-music treatment, though? That’s seems to be all new.
Brought to life on a grungy, multi-level set designed by Josh Sticklin, director and choreographer Jennifer J. Hopkins excellently showcases not just the complexities of the case, but also the true power and self-exploration yearning to explode out of women in the Victorian era. It also seamlessly cross-examines the themes that women are still striving to express in the 21st century. Hopkins’ vision of liberation translates across all technical elements as well, particularly seen through the innovative costume design by Logan Benson. Each of the heroines are outfitted in a modern/Victorian garb twist that becomes increasingly liberal as the women are liberated.
Rocking out live on stage was the incredible band, conducted by musical director Marika Countouris. While the balance between the band and the performers was often amiss, causing moments (especially when the performers were singing in their lower registers) to be inaudible, the band itself sounded fantastic.
The effects, while flashy and exciting in bringing the rock score to life, were at times a little too grand for Keegan’s smaller stage. However, effectively counteracting this was the smart use of projections, designed by Jeremy Bennett, which added color and atmosphere to the murder sequence and barn scenes.
Leading in a tour-de-force performance was Caroline Graham as everyone’s favorite bad girl, Lizzie. She showcased powerhouse vocals in every number and delivered a nuanced performance—especially in the juxtaposition of songs such as “This Is Not Love” and “Will You Stay?” (sung gorgeously with Savannah Blackwell), as well as the ensemble number “Somebody Will Do Something.” Also worth noting is that Graham was belting to the gods in a corset, which is deserving of immense kudos. We were all on the Graham roller coaster and loving every second of it.
Rounding out the ensemble were Brigid Wallace Harper as Bridget, Sydne Lyons as Alice, and Blackwell as Emma. Each of these women gives the queens of “SIX” a run for their money with impressively wide vocal ranges. A special shoutout goes to Lyons for some jaw-dropping moments in “What the F#%k Now, Lizzie?” as well as sharp accent work by Wallace Harper who may as well be Irish for all I know, and overall commanding performances. This ensemble of bad-a$$ women truly showcases the diversity and sheer talent of the DC theatre scene.
While “spooky season” may be over for most of us, it’s still alive and well on Church Street. If the team can adjust some of the sound imbalance, “Lizzie” will truly be unstoppable.
Running Time: One hour and 30 minutes with one 15-minute intermission.
Advisory: Intended for adult audiences and includes mature content. Specific elements include sexual content, depictions of abuse, violence, and blood. Also features the use of haze/fog, bright lights, and strobe lighting.
“Lizzie: The Musical” runs through November 30, 2025, presented by The Keegan Theatre at 1742 Church Street NW, Washington, DC 20036. For more information and to purchase tickets, please go online.
