#1

I am so glad I got the opportunity to see the Queen of Versailles. Something like that will not come again soon. Which is not to suggest that the play is a success. In a number of ways the brutal satire—about many different things— doesn’t quite work. Yet It’s fascinating nonetheless.

The shows theme, which is also the theme of Wicked, Evita and Chicago, was best summarized in the most brilliant opening argument I ever heard in a trial by the lawyer for a movie studio suing Kim Basinger. He turned to the jury and said, “We all know from the time we were in high school school that the pretty girl gets everything she wants.”

Here, a pretty girl with nothing much going her hits the jackpot by marrying a rich older man, a Trump-like huckster who made billions, and who showers his new trophy wife with material goods. For anyone familiar with Melania or the Real Housewives franchise, this narrative is almost a cliche.

Then the protagonist wants to become famous in a documentary, and on reality TV. As with the Real Housewives, her affect in front of the camera is compelling because of her stunning lack of self awareness. 

When Chenoweth, who was born to play this part, is given a break  offstage, we see the troubled daughter who can never be pretty enough, and the overworked nanny who can never see her family in the Philippines. 

The sharp Brechtian contrast between the rich and poor is underscored by scenes from the court of Versailles, which, I suppose, was supposed to be like the ghosts in Follies. 

No expense was spared and I was never bored, though I understand how audiences would be confused about whom and what they should root for, shrewd  Wicked’s strength was its clarity. 

The “palace” looks like something designed by Trump.  Bravo for taking this kind of risk on a Broadway audience.