Review

There are musicals that entertain, and there are musicals that unsettle. Queen of Versailles firmly belongs to the latter — a production that asks its audience not simply to watch, but to reckon. Rooted in a true story, the musical unfolds as a cautionary tale of the American Dream, examining what unchecked ambition, excess, and optimism can cost when reality inevitably intrudes.

That this story is drawn from real life makes the experience particularly challenging. Certain moments are genuinely uncomfortable to sit with, and the emotional weight never fully lifts. Yet, even in its discomfort, the production argues for its own necessity. Tragic stories, especially real ones, still deserve space on the stage.

At the center of the production is Kristin Chenoweth, whose portrayal is defined by relentless positivity. She captures the infectious charm of the character with precision, but allows that optimism to tip, at times, into something bordering on toxic. The tension between outward brightness and internal collapse becomes the show’s most compelling throughline, and Chenoweth navigates it with technical skill and emotional awareness.

The score by Stephen Schwartz is unmistakably his — polished, deliberate, and emotionally attuned. The comedic standout, “The Ballad of the Timeshare King,” provided a release of laughter, earning one of the strongest audience responses of the evening and briefly lifting the weight of an otherwise somber narrative. Unfortunately, while effective in the moment, the music as a whole did not linger after the curtain fell — it didn’t follow me home.

Visually, the production is ambitious. The set design is a significant undertaking, detailed and technically impressive, growing more impactful as the show progresses. The final visual moments are particularly striking, offering an unexpected sense of beauty amid emotional collapse. Costume design serves the characters effectively, reinforcing status and excess, though it remains firmly within expected parameters given the source material.

Pacing is where the production falters most. Several slower sections bog down momentum, making the runtime feel heavier than necessary. Choreography is minimal and largely unmemorable, reinforcing the show’s focus on narrative over movement but leaving the stage feeling static at times.

From an awards perspective, the set design stands out as the most noteworthy element, reflecting both scale and complexity. Beyond that, however, there is little that feels poised for major Tony recognition. The production’s strengths are conceptual and thematic rather than groundbreaking in performance or musical innovation.

Ultimately, Queen of Versailles reinforces a belief I return to often: art should make us feel something. While I didn’t enjoy how this musical made me feel, it undeniably succeeded in making me feel something. In the end, it is a challenging, sobering piece of theater — one that may not resonate melodically, but leaves its mark through discomfort, honesty, and intent.