By: Darryl Reilly
Fierce fan snapping, joyous hand clapping, and dazzling hip-hop dance sequences are all gloriously on display in the exuberant historical musical Giulia: The Poison Queen of Palermo. It is written by Grammy and Emmy Award-winning country music singer and songwriter Jennifer Nettles. There are shades of Sweeny Todd, nods to Hamilton, and flashes of Sofia Coppola’s film Marie Antoinette. The show is visually and narratively arresting.
In 17th century Italy we meet the real-life apothecary Giulia Tofana. Her prosperous shop is a haven for downtrodden women to gossip, to commiserate, and buy her wares. These include a variety of remedies for everyday ills, abortion inducements, and treatments for sexually transmitted diseases.
Giulia’s personal life is tangled; she has a beloved teenaged daughter through her first marriage from which she was widowed. Her swaggering second husband is the wine-imbibing, underemployed, and resentful Carlo. After he drunkenly becomes physically abusive, she poisons him to death him with her arsenic-based concoction Aqua Tofana. Giulia then makes it her mission to rid other women of their oppressive husbands via this method. All is well until the newly appointed Machiavellian governor, and a wily cardinal become aware of her activities.
Ms. Nettles’ feminist-centric book with its heightened dialogue and eventful plot is laced with temporal authenticity. Her grand score of nearly 30 eclectic numbers ranges from evocative Baroque melodies to scintillating rap songs. “Welcome to Palermo” is the thrilling ensemble opener and the inspirational “Higher” is performed after the curtain call. In between there are stirring solos, duets, and company numbers.
The radiant Nettles also plays Giulia offering a captivating characterization. The blonde, willowy, and charismatic Nettles sings and acts with force due to her practiced vocal abilities. She passionately conveys the horrendous plight of women during that time with her supreme central performance.
(Photo credit: Andy Henderson)
With his soaring baritone range and magnetic presence Quentin Earl Darrington is majestic as the icy cardinal. Evoking Golden Age Hollywood swashbuckling villainy, is the commanding Christopher M. Ramirez who is slyly sensual and gleefully amoral as the conniving governor. Animated Matthew Amira is ferocious as the dissolute Carlo; he is enraged by his wife’s success which impugns his masculinity. Sunny Bre Jackson is entrancing as the pseudo narrator. As a sympathetic priest Sam Simahk is soulful. Bubbly Didi Romero is hilarious and later chilling as an unfaithful duchess.
(Photo credit: Andy Henderson)
The dynamic ensemble is completed by Emily Fink, Andrew Kober, Aubrey Matalon, Naomi Serrano, Maya Sistruck, Jessica Rush, Kim Onah, Kaleb Wells, and Jamila Sabares-Klemm.
Tony Award-winning visionary director Mary Zimmerman’s customary superior pictorial sense and precise attention to detail is evidenced by this gorgeous presentation. Founder of the dance troupe Company XIV, which is known for its raunchy extravaganzas Austin McCormick’s frenetic choreography energizes the show with several breathtaking movement highlights particularly the à la Hamilton hip-hop portions.
Three large wooden antique-style double doors, a vast staircase, a hanging cross, and key vintage-type furnishings are the chief components of Daniel Ostling’s stupendous scenic design. Lighting designer T.J. Gerckens’ bracing blend of bright and crimson hues and eerie dimness totally suggest this often-violent era. Palmer Hefferan’s sharp sound design renders the music and effects with power. Costume designer extraordinaire Ana Kuzmanić provides a voluminous array of lavish and eye-catching garments.
This world première production of Giulia: The Poison Queen of Palermo is presented by the Perelman Performing Arts Center (PAC NYC). It is a remarkable and resonant theatrical experience.
Giulia: The Poison Queen of Palermo (through August 2, 2026)
Perelman Performing Arts Center (PAC NYC)
251 Fulton Street, in Manhattan
For tickets visit, www.pacnyc.org
Running time: two hours and 30 minutes including one intermission