REVIEW: ‘Here Lies Love’ revolutionizes Broadway
Photo: Here Lies Love has transformed the Broadway Theatre to tell the story of Imelda Marcos and Ferdinand Marcos. Photo courtesy of Billy Bustamante, Matthew Murphy and Evan Zimmerman / Provided by BBB with permission.
NEW YORK — Here Lies Love, the show featuring music by David Byrne and Fatboy Slim, is a revolutionary addition to the Broadway landscape. Although the 90-minute spectacle began life in smaller theaters and in many different iterations, Broadway always seemed to be on the horizon for this biographical look at Imelda Marcos, who once served as first lady of the Philippines. The challenge was whether this immersive musical could find a home on Broadway and not lose any of its infectious energy and unique theatricality — courtesy of developer and director Alex Timbers and choreographer Annie-B Parson. Thankfully they kept at it and have now opened the disco musical at the Broadway Theatre, one of the largest venues in Midtown Manhattan.
Although this reviewer has fond memories of experiencing Fiddler on the Roof and Cinderella beneath this proscenium, after walking into the Broadway Theatre for Here Lies Love, it became quite clear that this show would be something different. The Broadway Theatre has been completely transformed to accommodate the immersive qualities of this daring new show. There’s a floor area that is SRO, allowing audience members to feel as if they are at a real disco party, ready to enjoy some karaoke tunes and dance the night away. Others are seated along the sides of the dance floor with a perfect view of the dizzying action as it unfolds. There’s a hidden area behind the dance floor for the coveted few who want seats but still want to retain the energy of the beats. Finally, there’s the more standard theater seats in the large mezzanine section, but folks up there shouldn’t expect not to dance; they will.
There are multiple stages throughout the theater, and the central performance area actually moves along with the dancing audience members. This creates varying vantage points and unique angles on the action. At some point in the evening, an audience member is likely to have a cast member right near them, offering unparalleled intimacy.
The show tells the story of Imelda Marcos (Arielle Jacobs in an exquisite performance) and Ferdinand Marcos (Jose Llana, perfectly cast and commanding in his role). The show begins in positive territory, telling the story of how they first met, fell in love and eventually got married. Things take a darker turn when they ascend the political ranks in the Philippines and have their eye on the presidency. When in power, they rule with an iron fist, eventually turning their leadership into an authoritarian regime with the backing of the military. All of a sudden, the good times of their budding relationship, the disco in the air and that nonstop dancing feel a world away. What has happened to this beloved nation? How can power corrupt, with such devastating consequences?
Byrne and Fatboy Slim smartly tell this story by adopting the style of disco and pop music, almost as if the crowd has gathered for a political karaoke session. Timbers has the action play out as if this is a concert staging, with each cast member holding a microphone in their hand and generally instigating the audience to rock along with the tunes. This makes Here Lies Love a rollicking good time, but also when the plot turns authoritarian, there’s a complicity that is felt within the theater as well. Perhaps those good times were not being had by all. Perhaps the audience was so swept up in the glitz and glamor of the moment that they didn’t realize the Marcos’ true intentions.
The cast, to a person, is excellent, starting with Jacobs as Imelda, the real heart of the piece. She not only plays the first lady as a powerful political broker; she also showcases the trajectory of this iconic woman from a young girl with nothing but the future in front of her to a person making headlines with just about everything she does in life. Conrad Ricamora is superb as Ninoy Aquino, the political opponent of Imelda and Ferdinand, and also the person trying to wake up the world to the destruction of democracy in the Philippines. Ricamora offers a strong, solid, soul-bearing performance that will be remembered long after the disco ball stops spinning. There’s also no denying that Lea Salonga, playing a limited engagement through Aug. 13, is powerful as Aurora Aquino, and the all-Filipino cast that surrounds these central players is dynamic, dedicated and daring. Much credit to DJ Moses Villarama for keeping the energy sky-rocketing.
Here Lies Love has finally made it to Broadway, and it brings along an important historical lesson and a tale of the modern Philippines for a crowd that takes part in the action by dancing and moving along with the actors as the story unfolds. There’s a lot of fun, and there’s a lot of lessons on power and corruption. The immersive qualities of the piece are not gimmicky or pushed; they fit the material perfectly, helping to bring Byrne and Fatboy Slim’s songbook to life, and placing a fine focus on Imelda, Ferdinand and the People Power Revolution. This is a story of sacrifice and leadership, protest and power, military might and mightily sad consequences. The musical’s lessons need to be heeded in 2023; unfortunately they are needed more than ever.
This musical tells a story of revolution and is exactly the revolutionary show that Broadway needs right now. In fact, Here Lies Love is the best new musical in years.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Here Lies Love, featuring music by David Byrne and Fatboy Slim, was developed and is directed by Alex Timbers, with choreography by Annie-B Parson. Byrne is also credited for the concept and lyrics. Starring Arielle Jacobs, Jose Llana, Conrad Ricamora and Lea Salonga. Running time: 90 minutes. Currently playing at the Broadway Theatre in Midtown Manhattan. Click here for more information and tickets.
