A Disco for Imelda Marcos
Review of HERE LIES LOVE at the Broadway Theatre
A dance floor is intoxicating. It seduces you from the first dance move. Through the chaos of the dance floor, we can find clarity. Here Lies Love, currently playing at the Broadway Theatre, follows this ethos. From the moment the usher scans your ticket, bass-heavy house music guides you straight to Club Millenium, where we contemplate the life of Imelda Marcos, former First Lady of the Philippines and a former politician. A concept that sounds odd initially, but when experienced live, you are sent on an electrifying theatrical journey that will have you dancing in the aisles.
Here Lies Love has a rags-to-riches-to-holy terror plot structure. Imelda Marcos grows up poor in the Philippines. She values love and beauty, for they transcend class structure. In the title song, she sings, "Is it a sin to love too much? Is it a sin to care? I do it all for you." Marcos is also competitive, crowned the "Rose of Tacloban" in a beauty contest in 1949. Her proximity to political power leads her into a life of beauty, partying, and travel. She even finds herself at Studio 54 in the 70s. As Imelda, Ariel Jacobs balances the vulnerable private self with the public political self, and Jacobs did it exceptionally well. She brings a beautiful belting voice to her performance and doesn't attempt an Imelda Marcos impersonation but something far more personal to her.
Two men orbit Imelda Marcos. First, Ferdinand Marcos, played by Jose Llana. Ferdinand rose to political prominence as a nationalist. He presents as a soft, caring man but will do whatever it takes to maintain his control, including enforcing martial law. Llana is perfect for this role because he can charm and dominate at once. The other man is Ninoy Aquino, played by Conrad Ricamora, a populist candidate hellbent on rooting out the corruption in the Marcos presidency. Aquino had a relationship with Imelda when she was young, but he broke up with her because she was too tall. One must ask themselves if his crusade against her husband is purely political or if there is hidden resentment. Aquino calls her "the fabulous one," exposing the bacchanalian excess and monuments of Imelda. Ricamora knows how to excite the crowd and get them on his side.
The moment we waited for all evening was the arrival of Lea Salonga as Aurora Aquino. Her performance inspires and galvanizes the audience in political protest. Returning to the Broadway Theatre after originating the role of Kim in Miss Saigon in 1991, something feels sacred and holy in her performance. She is carrying so much history, pain, and grief in her performance.
One could write entire essays on the technical elements of Here Lies Love. It is a significant achievement how they redesigned the Broadway Theatre. David Korins' scenic design is most striking, with parts of the stage moving throughout the theatre. The lighting design by Justin Townsend is full of bright, hypnotic colors. Peter Nigrini's projection design incorporates actual footage of the Marcos' and other world figures, giving the production a documentary style. The sound at the Broadway Theatre is booming, but it pulses the body and is very exciting. You feel like you're in a nightclub or at a concert. This production gives hope to what can be produced in a Broadway house.
A technical highlight is when the Marcos are fleeing the country. The helicopter arrives through fans in the rigging above the mezzanine, blowing directly to the audience. Imelda looks up and falls away. Is she going straight to her personal hell? The moment harkens back to the helicopter scene in Miss Saigon, which also played at the Broadway Theatre.
Heavily influenced by disco and rock, Here Lies Love began as a concept album by David Byrne and Fatboy Slim. The musical score runs through the body. Toes will be tapping. Audiences are encouraged to dance throughout the performance. Conrad Ricamora taught my section how to line dance.
Here Lies Love is often compared to Evita, and some comparisons are fair. They’re both about first ladies, and both started as concept albums. But Evita draws influence from Brecht's Epic Theatre, whereas Here Lies Love is a 60s and 70s direct emotional experience. Audiences are thrust into the middle of Imelda's decadence; we begin to see how easy it is to lose ourselves and how good intentions can lead you on the road to hell.
Here Lies Love is running at the Broadway Theatre. Buy tickets here.