After reviewing Lizzie the Musical last year at Hope Mill Theatre in Manchester, I wrote a five-star review that had one nitpicky critique- purely because it was an almost perfect production. Upon hearing of another run this Autumn, I felt both excitement and trepidation about a new cast taking over a production that was a ‘bloody triumph’-though, I can honestly say, I had no reason to worry.

Not only is Lizzie back, but she’s back with a vengeance. This production, again directed and choreographed by William Whelton, is not only one of Hope Mill’s best, but also one of the best I have ever seen.

For those not in the know, Lizzie tells of the brutal murder of Mr & Mrs Borden in 1892. Although this case turned out to be a cause célèbre, through numerous sources and much speculation, the plot of Lizzie takes us into the lives of Lizzie Borden; her sister, Emma; neighbour, Alice; and family maid, Bridget (sometimes called Maggie…) and tells what might have happened that warm, blood-soaked evening.

This production is one of the easiest five-star reviews to give. Not only has it hit the brief of a true-crime, rock musical, but it has been elevated to new heights from the 2023 production.

Kayleigh McKnight takes on the titular role and shows the innocence and trauma of Lizzie early on with an emotionally complex performance which swiftly jolts away from naivety. This quickly develops into characterisation embroiled with a vengeful vindictiveness that is on point throughout- to the point of disturbing- and with some of the most flawless and powerful vocals I’ve ever heard.

Emilie Louise Israel plays Emma Borden; the headstrong, independent, older sister who is a complete contrast to Lizzie. Israel’s vocals are worth the ticket price alone. Her tone is richly soulful and adds a new dimension to the stunning harmonies that this show lives and breathes.

The comic relief in this show is from Bridget, effortlessly played by one of the funniest performers in British theatre, Jennifer Caldwell. Her timing, theatricality and vocals are sublime, permitting the audience a wry chuckle where it is definitely needed in this dark production.

Rounding off the cast is Katie Tonkinson as Alice, who brings a truthful subtlety that grounds the production when anarchy takes over; her clear tones soaring during her scenes with McKnight.

As with its previous run, lighting in this show is a character of its own. Perfectly executed by set and lighting designer, Andrew Exeter, a variety of colours ooze through the wooden set and, paired with Dan Light’s projection mapping and video design, give a phenomenal theatrical experience. Some of the best in the business.

With slick and edgy choreography, powerhouse vocals and production value to die for, Lizzie kills it- and I implore you to stop reading and click here to book tickets before the run concludes on November 17^th. You’ll not regret it!

Gifted in exchange for an honest review.

Photography by Pamela Raith.