Giulia: The Poison Queen of Palermo Opens at PAC NYC: A Muddled Moral Compass
Jennifer Nettles’ new musical, Giulia: The Poison Queen of Palermo, which opened Friday at PAC NYC, attempts to navigate the dark, murderous territory of 17th-century serial killer Giulia Tofana. Despite ambitious thematic goals, the production struggles to find its footing, often collapsing under the weight of its own sanctimonious tone and uneven songwriting.
The Bottom Line
- A Missing Mrs. Lovett: Unlike the benchmark for the genre, Sweeney Todd, Nettles’ Giulia lacks a comedic foil, resulting in a heavy, one-woman dirge that misses the genre’s necessary dark humor.
- Staging vs. Substance: While director Mary Zimmerman and scenic designer Daniel Ostling have crafted a visually striking, restrained environment, the score frequently succumbs to “Les Miz-overstatement,” diluting the impact of individual numbers.
- Moral Inconsistency: The protagonist’s selective morality—choosing to poison only “deserving” men—is presented with an unearned, high-minded righteousness that leaves the audience questioning the show’s actual stance on her crimes.
The Industry Context: Why Serial Killers Struggle on Stage
The musical theater landscape is notoriously hostile to the "serial killer" protagonist. Giulia, however, opts for a tone that feels more like an "American Idol" grand finale than a nuanced exploration of historical trauma.
Comparative Analysis: Giulia vs. The Demon Barber
To understand why Giulia misses the mark, one must look at how it handles the narrative mechanics of murder. In Sweeney Todd, the accidental killing of the protagonist’s wife turns the show into a genuine tragedy. In Giulia, the titular character is never allowed to fail. Her “BS-detector” for bad men is portrayed as infallible, removing the stakes that come with moral ambiguity.
| Feature | Sweeney Todd | Giulia: The Poison Queen |
|---|---|---|
| Primary Archetype | Demon Barber | Poisoning Abortionist |
| Comedic Support | Mrs. Lovett (Heavy) | Minimal / Non-existent |
| Moral Code | None (Pure Vengeance) | Selective (Wife-abusers only) |
| Orchestration Style | Intricate/Sondheimian | “Les Miz” Overstatement |
The “American Idol” Effect in Musical Theater
A significant issue with the current production is the musical arrangement. Cian McCarthy’s orchestrations push every song toward a climatic, belt-heavy finish. In the context of a televised singing competition, this is designed to secure votes; in a narrative musical, it numbs the audience. When every song is an anthem, no song is an anthem.
This trend toward “vocal gymnastics over storytelling” is a growing concern for theater producers looking to attract younger audiences who are accustomed to the high-intensity performance styles seen on social media platforms like TikTok, as discussed in recent reports regarding the evolution of stage music. However, when the music overshadows the plot—as it does here with the characters of the Cardinale and the Governatore—the result is a disjointed experience.
The Verdict: Style Over Substance?
The real triumph of the evening isn’t the book or the music, but the physical production. Mary Zimmerman’s direction, paired with T. J. Gerckens’ sinister lighting, creates a sense of dread that the script itself fails to sustain. The doors designed by Daniel Ostling provide the show’s only true suspense: what will we find behind them?
Ultimately, Giulia feels like a project that needed a firmer hand in the editing room to balance its feminist aspirations with the realities of its own violent premise. By keeping Giulia on a pedestal of “high-minded sanctimony,” the show denies its audience the chance to actually grapple with the messiness of her life. It’s a production that wants to be a manifesto, but forgets that, first and foremost, it needs to be a story.
Are you a fan of the “dark musical” genre, or do you think the industry is pushing the boundaries of serial killer narratives too far? Let us know your thoughts in the comments below.
