Introducing Studio 53, a captivating venue adjacent to the renowned Studio 54, where the extraordinary bio-musical “Here Lies Love” about Imelda Marcos had its grand opening. The Broadway Theatre has undergone a remarkable transformation into a seductive discotheque, complete with a dance floor instead of 900 orchestra seats. As the music of David Byrne and Fatboy Slim fills the air, audiences immerse themselves in the sensational story of the controversial former first lady of the Philippines.
While the initial spectacle of the redesigned space is overwhelming, credit must be given to set designer David Korins for his inventive masterpiece. The room that once hosted timeless productions like “West Side Story” and “Fiddler on the Roof” is unrecognizable. Arielle Jacobs and Jose Llana deliver captivating performances as Imelda and Ferdinand Marcos, leading the audience through Imelda’s opulent but turbulent life.
However, as we settle into the new surroundings, it becomes clear that something is missing. Broadway, with its grandeur and expectations, offers a different experience compared to the intimate Public Theater where “Here Lies Love” first captured audiences. The show fails to convey a stronger perspective on Marcos, resembling more of a pretext for a party rather than a powerful narrative. Nonetheless, director Alex Timbers and his team create an irresistible glamorous escape, enhanced by an unforgettable and infectious score.
“Here Lies Love” cheerfully traces Imelda’s evolution from a destitute girl to an international figurehead, capturing her rise to fame through beauty pageants and her relationship with the charismatic politician Ninoy Aquino. Conrad Ricamora’s portrayal of Aquino is exceptional, and his rendition of the captivating “The Fabulous One” resonates with the distinct sound reminiscent of Byrne’s “Talking Heads.”
Imelda’s life then takes a captivating turn as she catches the eye of Ferdinand Marcos, resulting in their marriage and his subsequent victory in the 1965 presidential election. The first half of the musical unfolds like a fairy tale, told solely through captivating music and no spoken dialogue. The cast struts and dances along elevated catwalks, while rotating stages and a standing audience create an immersive experience. Cameras film the audience as they engage in spirited rallies, further blurring the line between citizens and performers.
As the story progresses, the atmosphere grows less vibrant, mirroring the decline of Imelda’s reputation due to her excessive spending and Ferdinand’s imposition of martial law. Lea Salonga’s powerful ballad offers a grounded break from the otherwise frenetic energy, while Jacobs shines as Imelda in her early days of optimism and boundless love. However, her portrayal falters slightly when depicting Imelda’s grandiosity and the turmoil she faces regarding her husband’s infidelity and the People’s Power Revolution of 1986.
Despite not reaching the emotional heights of “Evita” (owing in part to Imelda Marcos’ current presence and the continuing legacy of her son in Filipino politics), “Here Lies Love” remains an enthralling sensory experience like no other. One cannot escape the theater without contemplating the endless possibilities for Broadway theaters and the untapped potential they house.
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