By Liz Eichler
Mrs. Dalloway: A New Musical by Lindsey Augusta Mercer is having its World Premiere at Cincinnati Shakespeare Company through June 15, 2025.
CSC is the home of the classics, and Mrs. Dalloway, the novel written by Virginia Woolf, is a highly regarded classic novel, well-received by critics and readers in 1924, as Woolf’s message resonated then as it does now. Huge huzzah for CSC, as one of the many venues supporting and commissioning the creative endeavors of Lindsay Augusta Mercer as well as encouraging other new voices to re-imagine or continue beloved stories.
Mrs. Dalloway is Lindsey Augusta Mercer’s debut as composer and librettist. Known throughout Cincinnati (and beyond) as a director, actor, and musician, they’ve been working on the show since 2021. The ”lyrical rhythm of Woolf’s stream of consciousness style” inspired them to create the piece and it is a “love letter” to the novel and musical theatre, according to the program notes.
There is a lot to love about this show, even if you haven’t re-read the book or watched the movie. (Confession, I did neither, but recall reading the novel in my 20s.*)
The Story of Mrs. Dalloway: A New Musical
The story takes place on a Wednesday in mid-June of 1923, London. Mrs. Dalloway is hosting a dinner party that night. That’s it–on the surface.
From the date alone, which is projected on the set, you know it is summer, which means it is the London “social season.” World War 1 has recently ended. Also mentioned is that Mrs. Dalloway is still recovering from influenza. (A quarter of the British population was affected by the Spanish flu pandemic in 1918/1919.)
Teetering between pre-war and pre-pandemic life, the sacrifices made, the people lost, and the years-long ending of it, it is time to celebrate–and throw a party. A great party. (Kind of like celebrating “brat summer” last year?)
But what makes the Virginia Woolf work such a classic, is that while much as the effort of the day goes toward the party, we discover there’s a lot going on with the characters as they are pulled to their past. It dives into our inner voices, the multi-verse in our mind, which highly differs from our daily routines. Everyone has a backstory—an inner monologue anchored in past events that affects the present and shapes the future. Mrs. Dalloway (Christiana Cole), now well past 30, remembers her younger days, when she was being wooed by suave, fiery Peter (Bobby Clater), though everyone knew her heart was with Sally Seton (the arresting Bex Odorisio). She vowed never to marry. But her overbearing father accepted a suitor on her behalf, and she married the dependable Richard (Byron St. Cyr).
The other main storyline follows Septimus Warren Smith (Noah Berry), who is unable to shake the horrors of war. He continues to see and replay the death of his beloved companion (Evans, beautifully danced by Montez Jenkins Copeland) over and over in his mind. His wife Rezia (Courtney Lucien) is a patient caregiver, and the show highlights the burdens of caring for someone suffering from PTSD.
Performances
Christiana Cole brings their beautiful voice and stature as Mrs. Dalloway. Both singing and speaking, their rich voice is reminiscent of Julie Andrews. I couldn’t take my eyes off their hands, gracefully adding inflection, gently caressing the music. Cole simply commands the stage.
As Septimus Warren Smith, Noah Berry provides a strong voice, great focus and movement. Courtney Lucien’s humor shines as Septimus’ wife Rezia. She and St. Cyr’s Richard take the house down with “Everything is Great.” This song truly connects with audiences.
The cast is full of familiar and new talent. CSC audiences have often seen Hannah Gregory, Cary Davenport, Patrick Earl Phillips and of course Kelly Mengelkoch. Wesley Carman, Bobby Clater, Montez Jenkins Copeland, Christian Hall, Bethany Xan Kerr, Dani Grace Nissen, Bex Odorisio and Aleah Vassel are less familiar but welcome talents.
As a new musical, there is a lot to love about it. Music Director and Co-arranger Matthew Umphreys conducts the nine piece orchestra, plays piano, and guides the singers flawlessly. The music ranges from “golden age musical” ballads, to more modern styles including fold and pop. So many beautiful songs–and harmonies– including “Beauty Was Everywhere,” “Narrow Bed,” “In Another Life,” “Everything is Great,” “WiId Ride,” The Party” and all of the reprises which echo throughout.
Production Team
Sara Clark directs the show, and understands the assignment. This is not a linear play. This is not a realistic design. The set (Samantha Reno) appears monochromatic in sage and evergreen, allowing it to be bathed in either rich cool or warm lighting (Andrew Hungerford) during the show. There is a clever use of projections (Robert Carlton Stimmel), especially when accompanying the more unstable moments of some of the key characters.
The clothing (Rainy Edwards), especially of the ensemble, is monochromatic with pops of red, vaguely early 20th century, but not harnessed to any one year–or gender. The party wear is especially gorgeous.
Some Themes
Mental health is a central theme. Some of us have “chattering monkeys” in our brains (as they say in yoga), but others face full-blown elephants battling for dominance. Our lives can become performative while we try to silence the thunder inside our heads.
Loneliness is another theme. Clarissa’s youth was full of people, and we see joy in flashbacks. But now, there are walls between her and her husband, friends, and others. She has become the perfect hostess: calm, supportive, refined—but hollow.
Also, let’s be honest—we all want the recipe for those crab thingies.
I’d love to speak with Mx. Mercer to hear more about the treatment of two specific elements: the opening scenes and the theme of motherhood.
The opening number is enthusiastic but a lot to unravel. I struggled to orient myself in time and place. Was I distracted by the visuals and missed key lyrics? Scene 2, featuring Mulberry (Aleah Vassa) at the flower stand, is lovely (especially the dance break), but we still haven’t quite met Mrs. Dalloway. Septimus’s story becomes crystal clear in Scene 3, and it’s not until Scene 4—thanks to Clarissa’s interactions with her delightfully cheeky maid Lucy (Bethany Xan Kerr)—that the audience finally gets its footing and understands who she is and why we should care.
Second, the treatment of motherhood is notably sparse. In the novel, it’s a key theme, for both Clarissa and Sally. One line of the musical mentions her child is with the tutor. Is it a five year old? Is it a teenager? The lack of detail may be a missed opportunity to further highlight Clarissa’s sense of isolation and age.
Overall
Overall, Mrs. Dalloway: A New Musical is a celebration. And a must see. Lindsey Augusta Mercer is a force, and in the capable hands of Sara Clark this musical demonstrates how we are as much part of our past as our present and future.
Now, more than ever, it is a great time to support live theatre in Cincinnati. And, as Artistic Director Brian Isaac Phillips says before every Opening Night “Everyone you know needs to see this show.”
Get Tickets to Mrs. Dalloway
Tickets to Mrs. Dalloway: A New Musical are available at the Cincinnati Shakespeare online Box Office. The show runs through June 15, with performances Wednesdays through Sundays. After the 2 pm Sunday matinees, you can have a conversation with the cast.
- Run Time: 2 hours and one 15-minute intermission
- Content Advisory: Story contains adult themes including PTSD and suicide.
*The show inspired me to revisit not only Woolf’s Mrs. Dalloway, but other great novels read in my youth–to note how the passage of time influences my perceptions of them.
