Review: The pop opera about Imelda and Ferdinand Marcos marks its official opening night in a Broadway theater converted into a lavish disco.
NEW YORK — With a whole lotta gloss and a nod to “Evita,” David Byrne and Fatboy Slim bring “Here Lies Love,” their kinetically crowd-pleasing pop opera, to Broadway, where it rocks and shimmers and swaggers to the rhythms of an Asian nation’s political ups and downs.It’s especially rockin’ if you buy floor-level tickets and share space with the actors in the Broadway Theatre, where the show had its official opening Thursday night.
Conrad Ricamora, in an equally dynamic turn as the doomed Ninoy Aquino, the onetime lover of Imelda who becomes the nation’s leading dissident, completes a psycho-political triangle that carries us briskly through five decades in their intertwining biographies. But, just as in real life, in this tale, it is the ubiquitous, materialistic Imelda who seizes on our imaginations.
The inspiration is that ’80s den of Manhattan decadence, Studio 54, which the real-life Imelda would frequent. Under a golden disco ball, stagehands traffic-cop the spectators around Korins’s modular, moving platforms. A screen at one end of the hall, consisting strikingly of a jigsaw of smaller video screens, flashes Peter Nigrini’s eye-popping projections: animated tropical scenes, footage of the real Ferdinand and Imelda, live feeds from roving camera people on the floor.
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