Chloe Sevigny, Kristen Stewart, Kim Dickens, Jamey Sheridan, Fiona Shaw, Denis O’Hare
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…the central performances from Sevigny and Stewart anchor the piece and the eventual reenactment of the bloody crime is certainly visceral and effective.
The fascination with the true case of Lizzie Borden, involving the violent hatchet murder of her father and stepmother in Fall River, Massachusetts in 1892, has persisted throughout the years to a surprising degree. Perhaps it’s the violent nature of the crime, or the fact that Lizzie, while almost certainly guilty, was acquitted of the murder and no one else ever charged. Regardless, it’s rich material for the right storyteller and with Craig William Macneill’s Lizzie, we have the tale reimagined as a slowburn, simmering queer romance.
Lizzie Borden (Chloe Sevigny) is a smart young woman, frustrated by her lack of agency in society and very dubious of her father, Andrew (Jamey Sheridan) and his ongoing fiscal mismanagement of her inheritance. Lizzie is a bit too forthright for her own good, and finds herself alone and mostly friendless. That is, until the arrival of Irish housemaid, Bridget (Kristen Stewart), whose gentle manner and innate kindness have the pair bonding and then becoming faltering but passionate lovers.
Lizzie works best as a romance, with the forbidden love between Lizzie and Bridget providing an extremely engaging throughline. Slightly less deft is the handling of Andrew, stepmother Abby (Fiona Shaw) and Uncle John Morse (Denis O’Hare) all of whom are so cartoonishly evil you’ll be yearning for them to cop a hatchet to the bonce within the first fifteen minutes. While it’s fine to have an unpleasant antagonist or two in your tale, their complete lack of literally any redeeming qualities means there’s very little room for character development or nuance, which leads to some awkward pacing issues particularly in the second act. The always-welcome Kim Dickens fares better as Lizzie’s slightly more sensible and practical sister, Emma, who seems to sense her sister’s growing rage and tries to calm it.
Director Craig William Macneill’s direction is deliberate and may, for some audience members, be just a little too slow for its own good. However, the central performances from Sevigny and Stewart anchor the piece and the eventual reenactment of the bloody crime is certainly visceral and effective.