Little Lark of London

A disco musical about a dictator’s wife – not what you’d be expecting from David Byrne and Fatboy Slim, but that’s exactly what Here Lies Love is. The show, originally a concept album from Byrne in 2010 and then a full production in 2013, tells the story of Imelda Marcos (Jaygee Macapugay), former first lady of the Philippines. Over ninety minutes, audience members see the rise and fall of Imelda and her husband, dictator Ferdinand Marcos (Jose Llana), from the 1940s to the 1980s with an all-Filipino cast telling their history. 

If you’ve been to the Broadway Theatre before, once you step in for Here Lies Love, it will be unrecognisable. The theatre has been transformed into a nightclub by set designer David Korins, with the stage becoming a dance floor and seating available up in the former mezzanine (similar to Studio 54, one of the clubs Imelda frequented in New York). Bright and colourful lights fill the theatre, pulsing along with the music. Audience members are walled into the dance club with mirrored walls and curtains, and there is a strange sense of being trapped in the show. 

Throughout the show, the audience is used as a part of the cast, with those on the dance floor constantly moving around the accommodate for the changing set and interacting with performers who treat them as the people of the Philippines. One particular moment that stands out is when Imelda encourages the audience to sing along, and there was a moment of realisation that everyone was dancing along with a dictator, with revolutionary Ninoy Aquino (Conrad Ricamora) looking at the audience in horror. More moments like this would have made Here Lies Love a much more powerful show in its reflection on charming politicians like Imelda and Jose Marcos.

The regime of Ferdinand Marcos is certainly an interesting choice for a disco musical and struggles at times to draw the lines between a fun dance party and a serious reflection of the politics of the Philippines. I would have loved to have seen more of Aquino and his revolutionary viewpoints, as the highlights of the show for me were when Ricamora’s acting skills were allowed to shine, breaking the haze of partying that captures the audience. Its best moments come when emotions are allowed to take the helm, including the final song of the show, “God Draws Straight,” using words from those involved in the peaceful revolution of 1986.

One of Here Lies Love’s weaknesses is its heavy use of video to further the plot. There are some effective moments, including one in which Llana directly interacts with audience members, his charm oozing through the black and white videos projected onto screens around the theatre. Unfortunately, most moments use photos and previously-recorded clips that take away from the energy of the show, making it feel almost cheesy, like one moment in which we are shown photobooth photos of Imelda and Aquino during their romance. 

Ultimately, Here Lies Love is ambitious and has some great songs, but struggles to hit the emotional points that it needs in order to be a truly powerful show. It is difficult to form sympathy for characters you barely know, especially those you are supposedly meant to be rooting for like Benigno Aquino. I would highly recommend choosing the standing dance floor seats to get the full experience. 

Here Lies Love runs at the Broadway Theatre.

Photo Credit: Billy Bustamante, Matthew Murphy and Evan Zimmerman (2023)