‘Lizzie’ (Borden) , A Killer Musical, At Thinking Cap Theatre

(Photo s by Tabatha Mudra.)

By Mariah Reed

Just in time for the Halloween season, Thinking Cap Theatre presents Lizzie, a gothic rock musical based on the infamous 1892 double homicide in a small New England town. Drawing from historical records, this edgy production reimagines the story of Lizzie Borden—the woman immortalized in that chilling nursery rhyme. Whether Lizzie was truly guilty is not the central question here. Instead, Lizzie dares to explore what might have driven one of history’s most notorious women to allegedly pick up an axe and make the headlines.

Nominated for three Drama Desk Awards and named “Best Musical” in eight regional awards worldwide, Lizzie has built a reputation as a genre-bending powerhouse. Told through dreamlike projections, sensual choreography, and a blistering punk-rock score, the show immerses us in the pressure cooker of secrets, repression, and rage that leads to bloodshed—and Lizzie’s haunting acquittal.

Set against the rigid social backdrop of the 1890s, Lizzie Borden’s descent from obedient daughter to vengeful force of nature crackles with unsettling relevance. Her transformation burns with a raw, modern fury that feels eerily suited to today’s cultural climate. Along the way, three pivotal women in her life—her loyal maid Bridget, tender-hearted neighbor Alice, and stoic sister Emma—bear witness to her unraveling. The script hints they may have even played a part in the cover-up.

Telling Lizzie’s tale through the lens of a rock opera is a stroke of brilliance. The genre perfectly captures the emotional chaos and suppressed anger that often simmer beneath the surface of abuse and control. In doing so, Lizzie speaks not only to a dark chapter in history but to the ongoing struggle for agency in a world that continues to silence women.

Backed by a tight five-piece band led by Musical Director Paul Curtis, Milaimys Castellón (Lizzie), Sabrina Lynn Gore (Emma), Leah Sessa (Alice), and Caila Katz (Bridget) deliver dynamo performances. Their vocals are as ferocious as they are precise, with harmonies that send chills—and not just the spooky kind. While the sound mix occasionally allows the band to overpower the lyrics, the emotional intensity and vocal excellence never falter. These women don’t just sing; they slay, with riveting commitment to character and circumstance.

Though some moments of choreography and “rocker” posturing feel slightly strained, the musicality, visuals, and sheer heart of the production more than make up for it. Mesmerizing video projections, strobe lights, and dramatic soundscapes heighten the sensory experience. However, the Victorian costumes—though visually striking—occasionally clash with the punk-infused energy. When the women break into head-banging rebellion, the layered skirts can undercut the fury with unintended comic effect. Similarly, the use of handheld microphones during select moments feels inconsistent alongside their wireless counterparts.

Still, the production captivates. Castellón’s Lizzie is both vulnerable and vicious, navigating her arc with haunting intensity. Leah Sessa is luminous as Alice, her longing palpable in every gesture and note. Caila Katz brings fiery wit and resilience to Bridget, while Sabrina Lynn Gore’s Emma commands with quiet authority and deep emotional resonance.

Director Nicole Stodard embraces the wild, unfiltered spirit of the score with gusto, though the ending lands with less impact than expected. But perhaps that’s the point. This isn’t a whodunnit. It’s a meditation on the making of a murderer—a dark fable about what happens when trauma goes unanswered, and women are pushed beyond their breaking point.

Rather than celebrate violence, Lizzie offers a provocative warning: when society fails to confront abuse and systemic injustice, it may help create the very monsters it fears.

Alyiece Moretto-Watkins’s scenic design brilliantly fuses Victorian and modern aesthetics, reinforcing the story’s timeless themes. Bree-Anna Obst’s lighting and projections channel Lizzie’s inner world, blurring the line between fantasy and madness. Vocal Director Claudia Lopez crafts stunning harmonies, while Nicole Perry’s intimacy work pulses with urgency and desire.

Thinking Cap Theatre’s Lizzie is bold, relevant, and electric—an audacious retelling of a legendary crime that dares you to question not just what happened, but why. This is no ordinary musical. It’s a searing scream of rage, a ghost story for our time, and a night at the theatre you won’t soon forget.

(Note: Sessa and Gore played in Thinking Cap Theatre’s 2017 production.)

Lizzie plays through Nov. 1 at the Hollywood Central Performing Arts Center, 1770 Monroe St., by the Thinking Cap Theatre. 3 p.m. Saturdays, 8 p.m. Friday, 6 p.m. Sunday, Running time 2 ½ hours. For tickets and showtimes, go to www.thinkingcaptheatre.org, or call (954) 610-7263.

Mariah Reed is an Equity actress, produced playwright and tenured theatre professor.