Lizzie The Musical Reviews

DC Theater Arts- Highly Recommended

"...Four dazzling performers bring Lizzie's story to life, excavating the family dysfunction that may have driven her over the edge. The show opens ominously, with the familiar nursery rhyme rendered in a haunting minor key. It's followed by "The House of Borden," in which the quartet reveals, "There's a lock on every door; in every room a prisoner of a long, silent war." Clearly, the Borden household seethes with tension. Unlike the real-life jury, the musical presumes Lizzie's guilt; its focus lies not on if she did it, but why."

MetroWeekly- Recommended

"...Lizzie Borden swings a mean axe in Lizzie the Musical, both as a rage-fueled maybe murderess and as the electrifying voice leading this hard-charging, concert-style rock musical. For director-choreographer Jennifer J. Hopkins' bracing new production at the Keegan, Lizzie's voice - and her rage and riveting determination - reside in Caroline Graham."

MD Theatre Guide- Recommended

"...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."

Morris Theatre DC- Somewhat Recommended

"...Despite a milquetoast platform, Lizzie contains several supreme performances, anchored by an electric Caroline Graham in the title role. Yet, each of the supporting actresses (Brigid Wallace Harper, Sydne Lyons, and Savannah Blackwell) in their operatic grovel are uniquely present, and never provide a dull moment across the clashes and rips of the backing music."

BroadwayWorld- Somewhat Recommended

"...This production prevents audience from hearing the show's lyrics by setting the onstage band's levels on “louder than the singers.” (Sound Design by Alec Green) Likewise, the lighting design (by Sage Green) often aims bright lights straight into the eyes of the audience which prevents it from seeing many moments of the show. Why Director/Choreographer Jennifer J. Hopkins seeks rock concert values for a theatrical performance matters insofar as it undermines the work of four fine singer/actors. What the band plays ought to support not overpower the cast."