{"id":15331,"date":"2025-11-10T13:05:15","date_gmt":"2025-11-10T17:05:15","guid":{"rendered":"https:\/\/www.red94.net\/news\/the-queen-of-versailles-musical-opens-on-broadway-with-kristin-chenoweth-praised-show-panned\/"},"modified":"2025-11-10T13:05:54","modified_gmt":"2025-11-10T17:05:54","slug":"65581-the-queen-of-versailles-musical-opens-on-broadway-with-kristin-chenoweth-praised","status":"publish","type":"post","link":"https:\/\/www.red94.net\/news\/65581-the-queen-of-versailles-musical-opens-on-broadway-with-kristin-chenoweth-praised\/","title":{"rendered":"The Queen of Versailles musical opens on Broadway with Kristin Chenoweth praised, show panned"},"content":{"rendered":"<p style='font-size: 1.1em;font-weight: 500;line-height: 1.6'><b>Kristin Chenoweth<\/b> opened <b>The Queen of Versailles<\/b> on <b>Broadway<\/b> on <b>November 9, 2025<\/b>. Critics praised her electric performance while panning the new musical adaptation. The <b>St. James Theatre<\/b> production reunites <b>Chenoweth<\/b> with <b>&#8220;Wicked&#8221; composer Stephen Schwartz<\/b>. The show adapts <b>Lauren Greenfield&#8217;s 2012 documentary<\/b> about billionaire couple <b>Jackie and David Siegel<\/b>.<\/p>\n<div style='background-color: #f8f9fa;border-left: 4px solid #e74c3c;padding: 15px;margin: 20px 0'>\n<p style='margin: 0;font-weight: 600'>\ud83d\udd25 Quick Facts:<\/p>\n<ul style='margin: 10px 0 0 0;padding-left: 20px'>\n<li><b>Opening night:<\/b> <b>November 9, 2025<\/b> at <b>St. James Theatre<\/b> in <b>NYC<\/b><\/li>\n<li><b>Star:<\/b> <b>Kristin Chenoweth<\/b> praised; critics called show &#8220;overly ambitious&#8221;<\/li>\n<li><b>Runtime:<\/b> <b>2 hours 40 minutes<\/b> with intermission; previews began <b>October 8<\/b><\/li>\n<li><b>Music by:<\/b> <b>Stephen Schwartz<\/b> (<b>Wicked<\/b> composer); script by <b>Lindsey Ferrentino<\/b><\/li>\n<li><b>Cast includes:<\/b> <b>F. Murray Abraham<\/b> as David Siegel; <b>Nina White<\/b> as Victoria<\/li>\n<\/ul>\n<\/div>\n<h2>What Happened: Chenoweth Shines in Troubled Versailles Adaptation<\/h2>\n<p style='margin-bottom: 10px'><b>The Queen of Versailles<\/b> adapted <b>Lauren Greenfield&#8217;s 2012 documentary<\/b> about the <b>Siegel family<\/b> building the nation&#8217;s largest private residence. The musical traces <b>Jackie&#8217;s journey<\/b> from upstate <b>New York<\/b> to billionaire status. She escapes an abusive relationship and builds her fortune with her much-older husband <b>David<\/b>.<\/p>\n<p style='margin-bottom: 10px'><b>Directing the show<\/b>, <b>Michael Arden<\/b> creates lavish visuals with <b>Dane Laffrey&#8217;s scenic design<\/b>. <b>Chenoweth<\/b> performs across nearly the entire production. Her physicality and charisma shine despite material constraints.<\/p>\n<blockquote style='border-left: 4px solid #3498db;padding-left: 20px;margin: 20px 0;font-style: italic;color: #555'>\n<p>&#8220;No one could possibly be working harder right now on Broadway than Kristin Chenoweth, who is bearing the weight of a McMansion musical on her diminutive frame.&#8221;<\/p>\n<footer style='margin-top: 10px;font-style: normal;font-size: 0.9em'>\u2014 <b>Charles McNulty<\/b>, Los Angeles Times Theater Critic<\/footer>\n<\/blockquote>\n<p style='margin-bottom: 10px'>The musical&#8217;s first half follows the <b>documentary&#8217;s narrative<\/b> more closely. The second act expands into territory beyond the film. <b>Jackie&#8217;s daughter Victoria<\/b> and adopted cousin <b>Jonquil<\/b> provide emotional anchors throughout.<\/p>\n<h2>Why It Matters: Star Performance Can&#8217;t Overcome Broadway Adaptation Issues<\/h2>\n<p style='margin-bottom: 10px'><b>Critics universally praised Chenoweth<\/b>&#8216;s commitment while questioning the musical format. The <b>LA Times<\/b> noted <b>Chenoweth&#8217;s dazzling star power<\/b> carries the show despite ambitious scope. Major outlets gave mixed reviews: <b>Variety<\/b> called it &#8220;overly ambitious,&#8221; while <b>Washington Post<\/b> said it exemplifies excess without clear satirical point.<\/p>\n<p style='margin-bottom: 10px'>The <b>2 hour 40 minute runtime<\/b> challenges audiences with dense lyrical material. <b>Stephen Schwartz&#8217;s score<\/b> offers variety without standout numbers besides &#8220;<b>Caviar Dreams.<\/b>&#8221; The production raises important questions about whether documentaries translate effectively to Broadway.<\/p>\n<p style='margin-bottom: 10px'>For <b>NYC theater lovers<\/b>, this represents a bold creative gamble. We&#8217;re in an era where streaming dominates entertainment. Broadway productions must justify their existence on stage rather than film.<\/p>\n<h2>The Reviews: What Major Outlets Are Saying About the Show<\/h2>\n<p style='margin-bottom: 10px'><b>Critical reception split distinctly.<\/b> Here&#8217;s what major outlets concluded:<\/p>\n<table style='width: 100%;border-collapse: collapse;margin: 20px 0;border: 1px solid #ddd'>\n<tr style='background-color: #f5f5f5'>\n<td style='border: 1px solid #ddd;padding: 12px;font-weight: bold'>Outlet<\/td>\n<td style='border: 1px solid #ddd;padding: 12px;font-weight: bold'>Stance<\/td>\n<td style='border: 1px solid #ddd;padding: 12px;font-weight: bold'>Key Quote<\/td>\n<\/tr>\n<tr>\n<td style='border: 1px solid #ddd;padding: 12px'><b>LA Times<\/b><\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>Mixed-Positive (Focuses on Chenoweth)<\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>&#8220;Chenoweth achieves canny balance of quixotic generosity.&#8221;<\/td>\n<\/tr>\n<tr>\n<td style='border: 1px solid #ddd;padding: 12px'><b>Variety<\/b><\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>Negative<\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>&#8220;Chenoweth&#8217;s Electric Performance Can&#8217;t Save This Overly Ambitious Slog.&#8221;<\/td>\n<\/tr>\n<tr>\n<td style='border: 1px solid #ddd;padding: 12px'><b>Washington Post<\/b><\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>Negative<\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>&#8220;Gaudy and confused mix lacking coherent point of view.&#8221;<\/td>\n<\/tr>\n<tr>\n<td style='border: 1px solid #ddd;padding: 12px'><b>People<\/b><\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>Positive<\/td>\n<td style='border: 1px solid #ddd;padding: 12px'>&#8220;Kristin Chenoweth Reigns in The Queen of Versailles.&#8221;<\/td>\n<\/tr>\n<\/table>\n<p style='margin-bottom: 10px'><b>Main criticism across outlets:<\/b> The musical struggles deciding whether to satirize or celebrate the Siegels. <b>Schwartz&#8217;s score<\/b> lacks distinctive blockbuster moments beyond &#8220;<b>Caviar Dreams.<\/b>&#8221; The production overtakes rather than elevates its source material.<\/p>\n<h2>What To Watch For: Ticket Sales and Long-Term Viability<\/h2>\n<ul style='margin: 20px 0;padding-left: 20px'>\n<li>Will <b>Chenoweth&#8217;s star power<\/b> drive box office despite mixed reviews?<\/li>\n<li>Opening week performance at <b>St. James Theatre<\/b> will signal Broadway momentum.<\/li>\n<li>Expect <b>Tony nomination consideration<\/b> for <b>Chenoweth, Schwartz, and Arden<\/b> come spring.<\/li>\n<li>Watch for tour announcements; new musicals often bounce regionally after Broadway runs.<\/li>\n<li>Media attention likely continues given <b>Jackie Siegel&#8217;s ongoing public profile<\/b>.<\/li>\n<\/ul>\n<h2>Can This Musical Survive on Broadway Despite the Critics?<\/h2>\n<p style='margin-bottom: 10px'>The real question emerging from <b>November 9 opening night<\/b> discussions: does <b>Kristin Chenoweth&#8217;s celebrity status<\/b> override critical consensus? <b>Broadway shows<\/b> have survived negative reviews before through star power and tourist traffic.<\/p>\n<p style='margin-bottom: 10px'><b>Variety noted the production<\/b> cost top ticket prices at <b>$441<\/b> per seat. That premium pricing demands strong word-of-mouth beyond opening week reviews. <b>Chenoweth&#8217;s seven-year absence<\/b> from Broadway could drive initial curiosity, but sustaining audiences requires more than nostalgia.<\/p>\n<p style='margin-bottom: 10px'>The core issue: <b>adapting documentaries<\/b> for stage remains tricky. <b>&#8220;The Queen of Versailles&#8221; documentary<\/b> worked precisely because film captured the visual excess. Broadway singing can bloat rather than clarify the story.<\/p>\n<p style='margin-bottom: 10px'>Are you curious about this musical adaptation? <b>Tickets are available<\/b> at <b>queenofversaillesmusical.com<\/b>. Will you see it based on <b>Chenoweth&#8217;s performance<\/b>, or will reviews give you pause?<\/p>\n<h3>Sources<\/h3>\n<ul>\n<li><b>Los Angeles Times<\/b> &#8211; Charles McNulty theater review praising Chenoweth<\/li>\n<li><b>Variety<\/b> &#8211; Aramide Tinubu critical assessment of adaptation<\/li>\n<li><b>The Washington Post<\/b> &#8211; Naveen Kumar theater analysis of musical&#8217;s tone<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":19,"featured_media":15330,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"schema_org_data":"{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Person\",\"name\":\"Kristin Chenoweth\",\"image\":\"https:\/\/image.tmdb.org\/t\/p\/w500\/q3ENDu5n23FARhyij4FVRaTkSg4.jpg\",\"sameAs\":[\"https:\/\/www.themoviedb.org\/person\/52775\"]},{\"@type\":\"Person\",\"name\":\"Stephen Schwartz\",\"image\":\"https:\/\/image.tmdb.org\/t\/p\/w500\/qpW74Zt3IpAGArMQigQz0vK0pR0.jpg\",\"sameAs\":[\"https:\/\/www.themoviedb.org\/person\/42910\"]},{\"@type\":\"Person\",\"name\":\"Lauren Greenfield\",\"image\":\"https:\/\/image.tmdb.org\/t\/p\/w500\/7lcA7e6PWs2Kr4wf8kQqhHXHF6m.jpg\",\"sameAs\":[\"https:\/\/www.themoviedb.org\/person\/930705\"]},{\"@type\":\"Person\",\"name\":\"Jackie Siegel\",\"sameAs\":[\"https:\/\/www.themoviedb.org\/person\/4741604\"]},{\"@type\":\"Person\",\"name\":\"David Siegel\",\"sameAs\":[\"https:\/\/www.themoviedb.org\/person\/1800873\"]},{\"@type\":\"Person\",\"name\":\"Lindsey Ferrentino\",\"sameAs\":[\"https:\/\/www.themoviedb.org\/person\/2271073\"]},{\"@type\":\"Person\",\"name\":\"F. 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