On a sweltering summer morning in 1892, in a small New England city, a prominent businessman and his wife were brutally axed to death in their home. Their daughter Lizzie Borden was the prime suspect. Lizzie’s trial was a coast-to-coast media sensation, and her story has become an American legend.


LIZZIE is four women fronting a six-piece rock band. LIZZIE is rage, sex, betrayal, and bloody murder. LIZZIE is American mythology set to a blistering rock score. LIZZIE is a new American musical with a sound owing less to Sondheim and Andrew Lloyd Webber than to Bikini Kill, the Runaways, and Heart.



“A gothic rock ritual with a ‘riotgirl’ attitude … an eerie hybrid of rock club and a turn-of-the-century New England parlor.”
“Presented with wall-rattling glee…deliciously watchable”
— The New York Times


“Lush tunes which retch sex, rage, dyke heat, misanthropy, and incest … Surreal glee and gallows humor … Finally, a rock musical you’d wanna mosh to.”
— The Village Voice


4 stars—A fetching, brawny rock musical”
— Time Out NY


“We came for splattered red, for madness and mayhem, and Lizzie Borden more than delivers”
— Show Business Weekly


“Kicking off TUTS Underground’s inaugural season, the Houston premiere of LIZZIE, a musical about the axe wielding double-murderess Lizzie Borden, proves to be the perfect opener for a season of bold theatre.”
— Broadway World/Houston


LIZZIE made Top Ten lists in each city we played in 2012/2013
— Seattle/Issaquah Press, Cleveland Plain Dealer, Broadway World/Houston, HoustonPress


“Four Amazing Female Vocalists + Rollicking (yet tuneful) Epic Rock Score + Intelligent (and sometimes tongue in cheek) Lyrics = PURE AWESOMENESS!”
— David Clarke, Houston Press, Top Ten Theater-Related Recordings of 2013


“Like Gwen Stefani circa “Just a Girl”—only homicidal and clad in Victorian dress—the Lizzie Borden of rock opera Lizzie is a foot-stomping, hair-flinging rebel who can rock out with the best of them.”
— Willamette Week/Portland


“Once in a while, the biggest theater company in town tosses its heft behind something truly delicious—like this boisterous rock opera, which imagined ax murderer Lizzie Borden as a foot-stomping hellion, and unfolded with lots of primordial wails and power stances. The punky anthems of rebellion and revenge remained in my head long after the final ax dropped.”
— Best of the Stage 2014, Willamette Week


“Despite its riot-grrrl façade, Lizzie has a classical sense of form. The songs are not an intensification of feeling as they are in most musicals, but rather crucial to our understanding of the twists and turns of what we might initially think is a simple and well-known story. It’s rare for show tunes to require this much intellectual engagement, but every turn of phrase is a revelation. You know more, you feel more, and like Borden, you want to get closer to the abyss. Listen to her sing to pigeons in a barn loft—“The Soul of the White Bird”—and you’ll want to take her hand and gently place it on an axe.The nimble “Shattercane and Velvet Grass,” sung during a chance encounter between Borden and her family’s maid, Bridget, illuminates how easy it is to begin to think murder’s a swell idea. The song isn’t an explanation of Lizzie’s actions, but instead a demonstration of how a mind can slip into an idea, and how that slip leads to another slip, which leads to another, and another, and another, until: “Lizzie Borden with an axe/Gave her father forty wacks/When she saw what she had done/She gave her mother forty-one.” When I think of the tremendous scope of Lizzie, it’s hard to believe that there are only four characters. But again, it’s closer to Sophocles than Nirvana, all the way down to the brutal off-stage murders.”

—KQED, Theater Junkie/San Francisco



★★★★★ Jyllands-Posten
★★★★★ Gregers
★★★★★ Vejle Amts Folkeblad
★★★★★ Fredericia Avisen