11/06-15 @ Steamer No. 10 Theatre, Albany
Photos by Andrew Elder, Best Frame Forward
“While the story takes place in Victorian times, the music is very ‘90s girl rock… which is exciting because you don’t often see that in a show.”
Ferociously kicking off Steamer No. 10 Theatre’s 2026-27 season with a regional premiere from November 6–15, LIZZIE (The Musical) takes a bodacious look at the case that defined how American society consumes both the guilty and innocent — leaving in its wake true crime fanatics, the fierce court of public opinion, and the harsh truth of class and gender divides.
As part of the Eclectic Performance Series for Adult Audiences at Steamer No. 10 Theatre, LIZZIE is a show interested in speculation: it analyses preexisting theories and postures its own about the day in the late summer of 1892 when Lizzie Borden was accused of murdering her father and stepmother. Testimonies were conflicting, and with circumstantial evidence, Borden was acquitted.
LIZZIE asks both who and why, speculating about potential motivations: loss of inheritance, history of sexual abuse, overwhelming oppression, and madness. The rock opera examines the case through a feminist lens, recounting events through a score brought to life by a tight ensemble of four female-centered roles.
“While the story takes place in Victorian times, the music is very ‘90s girl rock… which is exciting because you don’t often see that in a show,” says Director Kelly Sienkiewicz.
Sienkiewicz will also be performing as the Borden family’s maid Bridget alongside Regan Zlotnick in the title role, Megan Morse as Lizzie’s older sister Emma, and Emily Jenkins as Lizzie’s close friend Alice. Production will feature lighting design by Laura Darling and sound design by Tom Moeller.
LIZZIE’s cast and crew were first assembled at Fort Salem Theater; however, the crew disbanded after the stage company’s recent sale. In spite of the setback, the cast still wanted to perform the show. After shopping the concept to different venues, Steamer No. 10 Theatre swooped in with an offer. With the Eclectic Performance Series for Adult Audiences, the venue has been dabbling in shows with more mature themes, and LIZZIE seemed like a natural fit.
“It’s a different stage from Fort Salem versus the small one at Steamer 10,” says Sienkiewicz. “I honestly think it works better in this space because of the show itself as a rock concert, sung entirely through. It’s better in this intimate setting, so we’re excited.”
Originally, Sienkiewicz was only performing the role of Bridget, but when no one was in a position to direct, she also stepped into the role of director. Gathering a new team, she drew from her previous experience on female-centered productions like Steel Magonias and The Revolutionists to build a cast and crew around women.
“I love these all-female shows,” she says. “When assembling the team, I wanted a predominantly woman-led team, which we got. I just love when we show what women can do because I think sometimes people doubt it. When you’ve got this all-women team and they put on a great show, I always like how that makes you feel.”
The music of LIZZIE blends punk and gothic horror and is notoriously difficult for singers. Inspired by 1970s girl punk and underground political movements, the concept began in the early 1990s, when writer/director Tim Maner and songwriter/lyricists Steven Cheslik-DeMeyer and Alan Stevens-Hewitt wrote a four-song experimental theater and rock hybrid piece.
“In Act II, when it’s Lizzie’s trial, the portions from our testimonies are from the actual court documents, word for word,” says Sienkiewicz, who hopes to make the production as authentic as possible. “Obviously there are pieces that have to be filled in that we don’t know, relationships or conversations that were had… I appreciate that the writers did incorporate those testimonies.”
Sienkiewicz is aware that a musical about a brutal crime is unusual. When she mentions the show to people, the typical reaction is laughter, mixed with a tinge of disbelief. Still, the cast and crew of LIZZIE look forward to bringing their own take to the narrative spun around Borden’s case, as it regurgitates again through the media with Ryan Murphy’s latest venture, Monster: The Lizzie Borden Story. Facts and fiction still loom larger than life surrounding the case: it can be easy to forget that the people involved were human beings, not characters.
“I think there should be some sensitivity with it,” adds Sienkiewicz. “You always want to walk that line of sensationalizing it for art, and I think it walks the line pretty well.”
LIZZIE is recommended for mature and adult audiences due to its dark subject matter, intense themes, and specific theatrical effects. For more information, visit https://steamer10theatre.org.
