In 2012, award-winning documentarian Lauren Greenfield releasedQueen of Versailles“, has become a Sundance darling. The documentary follows Jackie and David Siegel, the billionaire owners of Westgate Resorts, as they began building a replica of Versailles in Orlando, Florida. The house was advertised as the largest private home in the United States. However, amid their massive construction, the 2008 stock market crash radically changed the couple's financial situation. Now, from a script written by Olivier Lindsay Award nominee “Ferrentino”, songs Oscar-winning songwriter Stephen Schwartz, Tony Award-winning director Michael Arden; Kristin Chenoweth puts on Jackie Siegel's sparkly pink stilettos and tells her story Broadway. Unfortunately, Greenfield's brilliant assessment of greed, consumerism and the American dream does not translate to the stage.
The Queen of Versailles opens in France in 1661, when 23-year-old King Louis XIV (Pablo David Lauccerica) decides to build what will become Versailles. Fast forward to 2007, and then viewers meet Jackie (Chenoweth), who, sitting in the middle of a construction site in front of the film crew, talks about building her own palace, her seven children, and why it's always important to upsize things (including McDonald's) whenever possible.
Shortly after this we are introduced to David (F. Abraham. Abraham), Jackie's much older husband, who seems content to indulge (and fund) his wife's shenanigans, especially since there are plans to build a Benihana on the mega-mansion grounds. From here, over the course of two acts, the socialite welcomes the audience into her world. We learn more about her upbringing and how she worked multiple jobs to support herself while attending engineering school. The series also touches on her abusive first marriage to her eldest daughter's biological father, as well as her meet-cute and courtship with David. Meanwhile, in the background there is endless construction, the Siegels' luxurious (but tawdry) lifestyle and their chaotic family life.
The Queen of Versailles certainly has its fair share of stunning elements. Dane Laffery's scenic and video design is impeccable, transporting viewers between 17th century France and early 2000s Florida. Plus, the costumes, designed by Christian Cowan, showcase who Jackie is before she even opens her mouth. From her dazzling Hermes bag covered in red, blue and white to match the French flag, to her overly beaded dresses and penchant for gold and glitter, her presence immediately screams new money.
The performances, including from the mega-talented ensemble, are also superb. As expected, Chenoweth is a force, and while Jackie isn't really a “likable” figure, the Emmy winner reveals aspects of her personality that evoke glimmers of sympathy for this toxically positive female billionaire. Abraham doesn't actually sing. However, he represents the ideal David, a knitted old man who is content only to have fat pockets. Additionally, Nina White and Tatum Grace Hopkins, who play Jackie's daughter Victoria and niece Jonquil, respectively, stand alongside Chenoweth with their powerful vocals.
However, the positive aspects of the play do not compensate for its shortcomings. Broadway is not the right medium for this story. The musicalization of the story gives little to the audience in Jackie's world, but instead stretches and stretches the story, although the themes alone can speak for themselves. The narrative could really take off if it were treated into a feature film. Additionally, adding a musical element further distorts the story. With the exception of “Caviar Dreams,” the third song in the first act, none of the other songs were particularly memorable. While the opening act is quite intriguing, by the second act the nearly three-hour show began to drag, especially after the show's tone changed dramatically.
Making a documentary and bringing it to the Broadway stage has always been an ambitious undertaking, and when creative people undertake such feats, they should be celebrated. However, this entry into the world of the Siegels did not take place. Removing a few of the musical numbers and condensing The Queen of Versailles to cut out certain sequences, such as Jackie's upbringing and even scenes related to the French Revolution (albeit delightful ones), would have made the production much more tonally focused and engaging. After all, some stories are better left on the silver screen.
