Cast:

Sara: Aly Westberg
Tom: Daniel Lundin
Michael: Christian Unser
Narrator: Rebecca Gebhart

Music Director: Tony Sofie
Guitar: Alex Maiers
Bass: Will Roberts
Drums: Paul David Stanko

October 2nd, 9th and 16th, 2015

Bryant-Lake Bowl Theater – 810 W Lake St, Minneapolis, MN 55408
(612) 825-3737

MMT’s production of Murder Ballad is presented as a “concert” with limited staging and costumes.

Murder Ballad is an original sung-through musical conceived by Jonathan Larson Award winner and two-time Susan Smith Blackburn Prize finalist Julia Jordan. Jordan also wrote the book and some lyrics for the musical with noted indie singer/songwriter Julia Nash.

The title is taken from the phrase “murder ballad,” a type of song that describes the details of a crime, from the murderer to the motive to the act itself. Jordan, initially a playwright, was interested in taking her idea of a murderous love triangle and turning it into a rock musical. She approached Nash, who had never written a musical before, and was inspired by the dark narrative qualities of the music.

Murder Ballad premiered at the Manhattan Theatre Club’s The Studio at Stage II. It ran from November 15, 2012, to December 16, 2012, featuring performances by Rebecca Naomi Jones, Karen Olivo, and Will Swenson. Following the sold-out run, the musical transferred Off-Broadway to the Union Square Theatre. The production opened May 7, 2013, and closed on July 21, 2013, after 70 regular performances.

Murder Ballad earned both an Outer Critics Circle Award nomination for Outstanding Off-Broadway Musical and a Drama League Award nomination for Outstanding Production of a Musical. It was also nominated for five Lucille Lortel awards.

Critical Reaction

“This steamy show is a love triangle with a razor’s edges. The show features taut, tart, and pungent lyrics by Julia Jordan and Juliana Nash.” -The New York Times

“A hot night of theatre! With an energy that is electric, this show is going to get young people to the theater in reams.” -Backstage Magazine

“Not only does Nash’s driving rock score employ specific musical vernaculars for each of the characters, it periodically allows them to adopt others’ styles to suit their purposes.” -TheatreMania

“A solid, well-crafted effort that revarnishes the old love-triangle premise. Juliana Nash’s muscular-yet-melodic score uses rock better than most musicals.” -New York Post