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Rolling Bay Hall

7pm  |  October 22 - November 6, 2021

5pm  |  November 7, 2021 only

Music by Steven Cheslik-deMeyer and Alan Stevens Hewitt

Lyrics by Steven Cheslik-deMeyer and Tim Maner
Book by Tim Maner
Additional Music by Tim Maner
Additional Lyrics by Alan Stevens Hewitt
Based on an original concept by Steven Cheslik-deMeyer and Tim Maner

Orchestrations by Alan Stevens Hewitt


Directed by Jesse Smith

Music Direction by Chris DiStefano

Choreography by Jessica Low

Costume Design by Dawn Janow

Stage Manager: Eliza Lane

Lead Producer: Tom Challinor

LIZZIE BORDEN: Rachel Noll James

EMMA BORDEN: Jessica Low


ALICE RUSSELL: Justine Rose Stillwell

Dedication + Benefit Performance Sun. 10/24

inD Theatre dedicates this production of Lizzie to the memory of Michelle Abad, our beloved friend and actor who was originally cast in this show before the Covid-19 pandemic but passed away in 2020. All donations that inD Theatre receives in connection with our performance on Sunday, October 24 will be matched in a gift to Michelle’s family. If you are unable to attend that evening and would like to contribute, you may do so at this link: NOTE: select “Make this a dedication to someone” and enter ”Michelle Abad.”


This show includes mature themes such as sexual abuse and incest, as well as adult language, flashing lights, fog effects, blood, and a whole lot of kick-a#$ music! Also axe murder, but you knew that. The running time is approximately 1 hour and 45 minutes including one intermission.


Covid-19 Safety

Upon arrival at the performance venue, all audience members must show proof of Covid-19 vaccination valid from no less than two weeks prior to their reservation date, as well as valid photo ID. Audience members must also remain masked at all times while indoors at the venue. Further details on vaccination, ID and masking requirements are below.

"Deliciously watchable" -- The New York Times

"Dynamic" -- The Los Angeles Times

"A thrilling all-female production that takes what generally has been perceived as a camp and pulpy piece of singing splatter theater and recasts it as a furiously performed declaration of feminist strength and survivorship in the face of abuse" -- The Chicago Tribune

Synopsis: Four women lead a 6-piece band in this punk-rock opera that explores the bloody legend of axe-wielding sweetheart-diva-heroine-enigma-psychopath, Lizzie Borden. Accused of brutally killing her father and stepmother in 1892, Lizzie was eventually acquitted, leaving the crime unsolved. What really happened on the fateful night of the murders? Journey into a wondrous exploration of this mysterious tale, inspired by raucous and iconic women rockers like Patti Smith and Joan Jett.

Winner, Korea Musical Awards for Best Musical -- Seoul, Korea
Winner, Ovation Award for Best Musical -- Los Angeles

Winner, Barrymore Award for Outstanding Musical -- Philadelphia

Winner, Dallas-Ft. Worth Theater Critics Forum Award for Best Musical -- Dallas-Ft. Worth

Nominee, NY Drama Desk Award

Typeface used created by Allen of Irvine who appears courtesy of 88rising.

About the Authors


Fresh out of art school in the early 80s, Steven bought a used guitar in a junk shop on St. Marks Place, learned three chords, and taught himself to write songs by listening to Dolly Parton records. He insinuated himself into the post-punk neo-folk scene in the East Village, but soon discovered the world of downtown theater. Through the late 80s and early 90s, he wrote and performed music in several experimental productions with Tiny Mythic Theatre Company and directors Kristin Marting and Tim Maner. In 1992, he and Jay Byrd created an act called Y’all, singing original songs and telling stories in the style of old-time country vaudeville. The act sprang from the downtown theater scene but went on to play in coffeehouses, churches, retirement homes, and rock clubs across the U.S., Canada, and Europe. In ten years, Y’all recorded four CDs, published two books, appeared on MTV and Comedy Central, and went broke. Their last two years together, they lived in a camper on the road with a third partner. Steven made a documentary about that relationship and the final years of Y’all, Life in a Box, which premiered in the San Francisco International Film Festival in 2005. After the demise of Y’all, Steven returned to New York where he continues to make music and theater and musical theater. He is a 2019 Jonathan Larson Grant finalist, a MacDowell Fellow, and a graduate of the University of Texas at Austin with a degree in American Studies. For more information, go to

Right out of college, Tim co-founded the tiny mythic theatre company with a focus on developing the work of creator/directors and a mission to “disrupt the american living room / rearrange the furniture in the american mind”.  tiny mythic’s work became a staple of the downtown alt-theatre scene of the early 90s, and just a few years later, the previously transient company transformed into the award-winning NYC arts center, HERE, called “One of the most unusual arts spaces in New York – and possibly the model for the cutting edge arts space of tomorrow” by The New York Times. His producing/presenting history at HERE included hundreds of productions brought to life by thousands of artists. He remains an active founding board member working to expand opportunities for mid-career artists. Tim has created over twenty original works as a creator/director including: The Hawthorne Project, a six-year collaboration with writer/adaptor Elizabeth Banks building a trilogy of multi-layered multi-media events adapted from Nathaniel Hawthorne’s three American novels and The Opera Project, a five-year collaboration with writer Ruth Margraff and composers Matthew Pierce and Fred Ho creating a series of original new wave operas.  Outside of the work he created with his own companies he has directed at The New York Shakespeare Festival and New Dramatists Guild, was a guest artist/teaching fellow at Harvard University, and has taught at New York University/Playwrights Horizons. He’s also sung in some bands, arranged and conducted a Cowgirl Chorus, and originated roles in two Robert Wilson shows: Hamletmachine (NY/European Tour)  and Salomé (La Scala, Milan). He is a graduate of NYU/ Tisch School of the Arts. 

ASH grew up in a musical family, the son of a Philadelphia Orchestra oboist. He cut his teeth as a teenager recording for Ruffhouse/Columbia Records at Studio 4 in Philly, and during the 90’s as member of alt-folk band The Low Road (Caroline Records), touring with Los Lobos, Barenaked Ladies, and label-mates Ben Folds Five. He moved full-time to NYC in the late 90’s to pursue his conservatory degree in composition at Mannes College of Music/The New School, where he studied with Robert Cuckson and Carl Schachter. In the mid-aughts, with partners, he opened The Coral Room, a nightclub in the Chelsea section of Manhattan, which featured a 10,000 gallon saltwater aquarium with live “mermaid” performances and hosted cutting edge bands, performance artists, events, and djs nightly. As an actively performing musician, his credits include Broadway’s Frozen, Come From Away, The Band’s Visit, Fun Home (also 1st Natl. Tour), Finding Neverland, Matilda, Sting’s Last Ship, Rocky, Jekyll & Hyde, Lysistrata Jones, Green Day’s American Idiot, Spring Awakening (also 1st Natl. Tour), Off-Bway’s Closer Than Ever, RENT, tours in the U.S. and abroad, and numerous recordings as player, composer, arranger, and producer. His first score for theatre was for a production of Bertolt Brecht’s Baal that the NYTimes thought was awful. He lives in the Lower Hudson Valley and enjoys motorcycles and longboarding.


Upon arrival at the performance venue, all audience members must show proof of Covid-19 vaccination valid from no less than two weeks prior to their reservation date, as well as valid ID.* Audience members must also remain masked at all times while indoors at the venue. Outdoor bar service is available before each performance and during intermission.



A patron vaccinated against COVID-19 by a two-dose mRNA vaccine (such as Moderna and Pfizer), or a single dose vaccine (such as Johnson & Johnson), is considered “fully vaccinated” two weeks after the final dose of vaccine (the second dose for a two-dose regimen, or the single dose for a single-dose regimen). Documentation of vaccination status must be shown with valid ID* upon entry to the venue and available upon request at any time.


The following are acceptable as proof of full vaccination:

  • Vaccination card (which includes name of person vaccinated, type of vaccine provided and date last dose administered) OR

  • a photo of a vaccination card as a separate document OR

  • a photo of the attendee’s vaccine card stored on a phone or electronic device OR

  • documentation of vaccination from a healthcare provider electronic health record or state Immunization Information System record.

  • Matching photo ID* required at the door


Self-reported vaccination records that are not verified by a health care provider cannot be accepted.



Masks are required for all patrons, in all sections, except when outdoors. Wear face coverings that offer two or more layers of tightly woven fabric such as cotton and cotton blends that are breathable and provide a snug fit without gaps.


The face covering must fit over your nose and mouth. The highest quality masks, in order, are:

  • Certified N95, KN95, or KF94 masks. These are disposable, not available in children's sizes, and more expensive.

  • Surgical masks that have been tested to meet a national standard (ASTM 2/3). These are also disposable. 

  • Cloth masks that have a double layer. These can be washed and re-used.


* In addition to providing proof of vaccination, guests 18 or older must present a government-issued photo ID, such as a driver’s license or passport. Guests younger than 18 may present a government-issued photo ID or a school photo ID as an alternative. Guests younger than 18 who do not have either a government-issued ID or school photo ID can only attend performances in the company of an adult who provides the required ID and vaccine documentation for themselves and can also provide documentation for the minor's vaccination verification.

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