Kristin Chenoweth’s Dazzling Performance Can’t Save The Queen of Versailles
Broadway’s The Queen of Versailles arrived with massive expectations—a lavish production, a Tony-winning creative team, and the irresistible star power of Kristin Chenoweth. While Chenoweth delivers a tour-de-force performance, the musical itself stumbles under the weight of its ambition, leaving audiences dazzled but disappointed.
Chenoweth: A Bright Spot in a Muddy Narrative
Kristin Chenoweth, as socialite Jackie Siegel, is nothing short of electric. Her comedic brilliance, vocal range, and magnetic stage presence make her the undeniable highlight of the show. Whether she’s belting a soaring ballad or delivering a razor-sharp quip, Chenoweth proves why she’s a Broadway icon.
Yet, even her star power can’t overcome the show’s identity crisis. The Queen of Versailles struggles to balance satire and sincerity, leaving the audience unsure whether to laugh, empathize, or cringe.
A Story Drowning in Excess
Based on the 2012 documentary, the musical follows Jackie and David Siegel’s quest to build a 90,000-square-foot mansion—until the 2008 financial crash derails their dreams. The premise is rich with dramatic potential, but the execution falters.
Dave Malloy’s script crams in too many subplots—marital drama, economic collapse, social commentary—without delving deep into any of them. The result feels like a series of extravagant vignettes rather than a compelling story.
Spectacle Over Storytelling
Visually, the production is stunning—gold-drenched sets, opulent costumes, and jaw-dropping set pieces scream Broadway excess. But the spectacle often overshadows substance.
Alex Lacamoire’s score has moments of brilliance (mostly in Chenoweth’s solos), but the ensemble numbers feel uneven. A misguided rap about real estate exemplifies the show’s tonal whiplash.
Missed Satire, Muddled Message
The musical’s biggest flaw? It can’t decide if it’s mocking or celebrating its subjects. The documentary’s sharp satire is lost in a script that veers between caricature and clumsy sympathy.
Supporting characters, like Norbert Leo Butz’s David Siegel, are underdeveloped, and the financial crisis—a pivotal moment—gets rushed treatment. By the finale, the intended takeaway remains unclear.
Final Verdict: A Glittering Mess
Kristin Chenoweth is worth the ticket, but The Queen of Versailles is a classic case of style over substance. With a muddled script and uneven pacing, it’s an ambitious misfire.
Rating: ★★☆☆☆ (2/5 – Chenoweth dazzles, but the show collapses under its own excess.)
Playing at the Broadway Theatre—catch it for Chenoweth, but don’t expect a masterpiece.
