I think we’ve all come to know how unyielding the wealthy elite can be. We see it enough in the media as it is, and for the ones that tend to have it coming, I find it sometimes a thrill to watch their empires crumble (that’s more the true crime part of me with those specific elites). Who doesn’t wanna have all the money and luxuries and influence in the world? And the people who do have tend to go on spending and spending on the grandest of things. But eventually ones gotta ask themselves, especially like the family at the center of “The Queen Of Versailles,” “when will enough be enough?”
To say that this new musical sticks the landing on this question is an understatement. It hits the bullseye hard on it. And in addition it’s a fantastic commentary on the wealthy elite’s behaviors and their ideology of keeping face when internally it’s all falling apart (remind you of anyone in DC these days?). Plus with the illustrative size and grandioseness in Dane Laffrey’s marvel of a construction-site-to-finished-product set, as well as getting up close and personal within his videography, you really feel the weight of all these practices making an impact on our minds. However, that doesn’t go to say this musical doesn’t have its flaws, and all of them fall into the laps of the writers I’d say.
First up, Lindsey Ferrentino’s book. Now, she’s hit the points I’ve mentioned already on the nose, and the parallels she makes to the events happening in 2008-9 and the French Revolution line up and tie in remarkably, and the plot line is nice and linear with a suitable pace that’s easily digestible. But the fault of hers lies within her characters. There’s not a single character here that, to me, can be described as even likable. They’re written in ways that illustrate more of their shallowness (which is also a crucial point in this show but still) and barely even comes across as three-dimensional. Not even the score by Stephen Schwartz does a service in bringing some dimensions to any of them, which leads me to the next creative on my line.
Now it’s a privilege to see one of the greats of last century pump out a new piece in this century, and Schwartz certainly is one of those greats. But once this original score hits your eardrums, you find yourself wondering whether you really are listening to a Schwartz score. Maybe a ballad or two have that feel, but the rest just kinda falls into the ether with nothing all too specific left for you to hum along to as you head home. It pains me to even say it since Schwartz seems to be having a bit of his own renaissance this season onstage and onscreen, but sadly it’s the truth.
So what do you do when you got a semi-flat book and an unmemorable score? Give it someone highly skilled at staging obvi, but even that can only do so much. Michael Arden does everything in his absolute power to give this show some more dimension and zest, and while he succeeds in some places, others he certainly put the effort into but just don’t get off the ground. It’s sad since I’m quite fond of his other works I’ve gotten to see in his career thus far. But then again, even the best have duds.
But the saving grace of the entire show happens to be the Queen herself, Kristen Chenoweth. Let me just say, she is way more enjoyable to witness live than her “Wicked” counterpart (read my take on “Redwood” from the spring), and I refuse to get into the so-called “controversy” she’s been forced under right now (I mean she’s done so much for the theater community, Broadway Cares, etc.; give her a break!). She’s brings life, dimensions, and a clear cut arc to the character she’s been dealt, and surely Schwartz had her voice in mind while writing this because her vocality, contemporary and legit, skyrocket to the roof of the St. James with such vivacious vibrato and emotion. And she has such a fantastic balance between the comedic and dramatic routes this character takes on her journey to become so-called “American Royalty.” It may not be a Tony win for her this year, but a nod of recognition will certainly suffice.
I would be lying if I said “The Queen Of Versailles” was the best show of the season I’ve seen so far, and this recent viewing still leaves me feeling shaky on the lack of new and original musicals on this year’s lineup. I can only recommend this one to either the diehard Chenoweth fans or those, like me, that are fascinated by the highs and lows and devastating blows of and to the elite, and that’s both groups can handle a nearly 3-hour runtime. But I will say I do not regret my choice to check it out nor getting to finally see Chenoweth live. If anything, this flawed musical still is doing its job at holding that mirror up to society that makes us ponder the world we live and the privileged few who do as they please without much thought at times and maybe need to ponder the big question this musical poses.
