SOUNDspace
Jul 13, 2026
SWAN LAKE
Jul 23, 2026
Review by Celia Ipiotis
Men behaving badly don’t stand a chance in 17th century Palermo. That’s because the beautiful and clever Giulia knows her herbs and potions. They can be applied for good or nefarious purposes and for the most part, Giulia oversees their curative properties at her apothecary.
But when Giulia’s inebriated husband lunges for her and her daughter, she snaps. Through flattery and a sleight of hand, she pours her poisonous brew into his wine glass and poof – problem gone!
A meeting ground for women, Giulia’s apothecary doubles as a social club for women who share stories about their lives and being plagued by lazy, brutish husbands. A gorgeous dark wood floor-to-ceiling ceiling cupboard by Daniel Ostling dominates the stage. Each time the doors open and close, a different vista appears.
Besides Giulia, two other lead roles anchor the musical: the politically duplicitous Cardinale (an excellent Quentin Earl Darrington) and the moustache-twirling villain, Governatore (Kaleb Wells).
Jennifer Nettles is responsible for the book, lyrics and music and the insightful director is Mary Zimmerman. Indeed, some of the most inventive parts of the 2:45 musical are due to Zimmerman’s stagecraft.
Strong cast members belt out high intensity songs that crowd the musical. Their disdain for just about every man in their orbit (with the exception of the kind Father Paolo, Sam Simhak) flattens out the dramatic arc. Based on legend, it’s understandable for women–caught in abusive marriages to desire an escape, but after the town begins to clean out its male population, authorities get suspicious.
The imposing, splendidly voiced Cardinale is particularly effective, managing to color his character with political wile, doubt and fear. While the detestable, scheming Governatore ekes out a number of laughs, his interpretation is extraordinarily broad, resembling a cartoon character like Yosemite Sam.
Zimmerman’s direction displays a choreographic sensibility in the way she collects several women in one corner, staggering their positions on the large staircase and designing routes so one person passes another while singing or speaking. Rarely are the actors asked to stand in a single, static position. Additionally, T. J. Grokens’ gorgeous lighting design builds on the atmospheric drama.
Congenial music by Nettles and Zimmerman hold the audience’s attention. However, if the program is to move beyond its Off-Broadway run, then it will require some prudent editing.
EYE ON THE ARTS, NY — Celia Ipiotis
*Photos by Andy Henerson
