Kristin Chenoweth Shines Despite Chaos in ‘The Queen of Versailles’ Review
Lauren Greenfield’s critically acclaimed documentary, “The Queen of Versailles,” originally released in 2012, captured the lives of Jackie and David Siegel, billionaires known for their Westgate Resorts. The film followed their ambitious project to build a replica of the Palace of Versailles in Orlando, Florida, projected to be the largest private residence in the United States. However, the onset of the 2008 financial crisis significantly impacted their fortunes.
Kristin Chenoweth Takes Center Stage
Now, the story transitions to Broadway, starring Kristin Chenoweth as Jackie Siegel. The adaptation features a script by Olivier Award nominee Lindsey Ferrentino and music by Oscar-winning songwriter Stephen Schwartz, under the direction of Tony Award winner Michael Arden. Chenoweth’s performance aims to embody Jackie’s extravagant lifestyle amidst the chaos surrounding her.
A Glimpse into Jackie’s World
The musical begins in 1661 France, showcasing young King Louis XIV’s plans for Versailles. It quickly shifts to 2007, where Jackie, at the construction site of her lavish home, discusses her aspirations alongside her seven children. Audience members also meet David Siegel, Jackie’s significantly older husband, who finances her vision, including plans for a Benihana on the estate grounds.
- Jackie’s upbringing included multiple jobs while she pursued engineering.
- Her history includes a tumultuous first marriage before meeting David.
The narrative aims to reveal their chaotic family life and extravagant tastes, framed within two acts. Although the design by Dane Laffery earns praise for seamlessly transitioning between eras, the musical elements appear misaligned with the original documentary’s themes.
Performance Highlights and Critique
While the production showcases beautiful costumes by Christian Cowan, representing Jackie’s personality through opulent fashion, the show faces criticism for its format. Despite strong performances, including those of Nina White and Tatum Grace Hopkins as Jackie’s daughter and niece, the musical format often dilutes the narrative. Chenoweth, although captivating, portrays a character that lacks relatability.
The musical only features a few memorable songs, notably “Caviar Dreams.” Despite a compelling opening act, the nearly three-hour performance struggles to maintain engagement as it progresses into often disjointed territory. The ambitious attempt to translate the documentary into a Broadway musical seems to falter, suggesting a preference for a cinematic narrative over musical theatrics.
Conclusion: A Story Better Suited for Film
In summary, “The Queen of Versailles” on Broadway attempts to capture the essence of its documentary roots but ultimately fails to resonate with audiences. The over-inflated narrative and musical additions detract from the core story. This saga may be more appropriately left to the screen, where its dramatic elements can unfold without the constraints of musical interpretation.
