Lottie Plachett Took A Hatchet is inspired by the true story of Lizzie Borden, which shocked America in 1892. Borden was tried and acquitted of the axe murders of her father and stepmother. After her acquittal no one else was ever tried for the crimes. The case has been covered within pop culture many times over the years. And inspired a playground rhyme, which begins, ‘Lizzie Borden took an axe and gave her mother forty whacks’… There is a similar rhyme within this show with the title of the play included.

The world has become obsessed with true crime in recent years, me included. There are countless documentaries and podcasts to choose from that focus on crimes committed. And so I was intrigued when I heard about this production, and my intrigue grew when I saw it would be a queer retelling.

In this production, Lottie Plachett (Lauren Lopez) is accused of the deaths of her father and stepmother. We begin with Lottie in court, Judge Ballsack is presiding. We then go back in time as Lottie reminisces. Lottie is in love with her father (Ryan W Garcia) – yes IN love with! Her mother has passed away, and she has a new stepmother named Barfa (played by the show’s writer Justin Elizabeth Sayre). Lottie also has a younger brother called Pansy (Tom Lenk).

The show cites itself as a queer feminist retelling, something which I question. Throughout the show, Lottie’s father is homophobic towards his Pansy, going so far as to have his pelvis removed. Telling everyone it was necessary to save his life. But actually hoping this would make him straight. And as for feminism there is an absence of strong female characters within the show. Lottie is a woman that’s never left her father’s house and spends all her time with her birds, lusting over her father. So, yes, whilst the show is very camp and the character of Barfa is akin to that of a pantomime dame to brand it a queer feminist retelling feels rather a bold claim.

The script is filled with crude humour which reminds me of the humour found in an episode of ‘Family Guy’. There were a couple of jokes which were quite on the cusp, one of them in particular emitted groans and gasps of disgust from the audience.

In short the show is gloriously camp, light hearted, peppered with some funny moments but heavy on the crudity in others. It’s absurd and filled to the brim with innuendos, I’m sure you’ll either love it or hate it. But the only way you can find out if Lottie Plachett Took A Hatchett, is if you go and see the show for yourself!

Rating: 3 out of 5.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

2 Star Review 3 Star Review 4 Star Review 5 Star Review 2022 2023 Adaptation Almeida Cabaret Camden Fringe Cast Announcement Christmas Comedy Dance Drag Edinburgh Fringe Edinburgh Fringe Interviews Fringe Immersive Interviews Jukebox Musical LGBTQIA+ Lyric Hammersmith Manchester Musical New Musical News New Wimbledon Theatre North West Off West End Park Theatre Play Review Revival Richmond Theatre Round Up Royal Court Theatre Shakespeare Show Announcement Show Recommendations Soho Theatre Southwark Playhouse Touring Production VAULT Festival West End

    The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
    Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
    The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
    Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
    Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE


Leave a Reply