One of the joys of being a theater critic is discovering an unexpected gem among the thousands of productions I’ve reviewed over the years. Such was the thrill of seeing Giulia: The Poison Queen of Palermo at the Perelman Performing Arts Center. To say it’s a diamond in the rough would not be entirely accurate because this world premiere production is as polished and almost ready for a Broadway transfer as any off-Broadway musical could be. Its unique blend of original story-telling and irresistibly tuneful songs is the work of one incredibly gifted person – Jennifer Nettles – and the work is bound to draw comparisons to Hamilton. Like Lin-Manuel Miranda, Nettles is a quadruple threat, writing the book, music and lyrics in addition to performing the title role. But she may be one-up on Miranda with vocal power that puts her in a category all to herself.
And that’s not all. Under Mary Zimmerman’s inspired direction, the production is a collaborative triumph. From the casting to the orchestrations, choreography, set, costumes and even the wigs, it all comes together in highly entertaining fashion.
It’s based on a true story from the 17th century…with a lot of dramatic license to spice things up. As legend has it, a woman in Palermo named Giulia Tofana had an apothecary where she dispensed cosmetics and herbal treatments. But one of her elixirs, called Aqua Tofana, turned her into a much sought after serial killer. It was an undetectable poison laced with arsenic that she sold to women who were stuck in abusive marriages. Unable to divorce or separate, the women were all too happy to kill off their husbands and gain their freedom. As the story goes, the body count added up with hundreds of men dying suddenly of mysterious causes.
[Read Michael Sommers’ ★★★★☆ review here.]
One of the numbers in the show, “Making a Killing”, features a lively dance as the caskets pile up. If it sounds gruesome, it might remind you of Sweeney Todd but Giulia’s victims are all deserving of their untimely ends which makes the story more of a revenge yarn. And in the telling, Giulia delivers an uplifting message of female empowerment as we see how the downtrodden wives turn into a sisterhood of liberated widows. It’s full of plot twists and told with warmth and edgy humor which makes the story all the more compelling. Adding to its appeal, almost every one of Nettles’ characters from the leads to the lesser roles are well crafted. And Nettles generously gives them each opportunities to shine. And ‘shine’ they most certainly do.
The songs are an eclectic mix overlaid with folksy Italian rhythms giving the show authentic charm. From rap to country to gorgeous ballads, Nettles’ talent as a songwriter seems to know no bounds. Her two villains – Quentin Earl Darrington as the scheming Cardinale and Christopher M. Ramirez as the dastardly Governatore – are terrifically versatile actors able to rap and rhapsodize with abandon. Darrington is divine as “the wolf,” representing church dogma. And when he literally howls at the end of his 2nd act solo, it’s show stopping. Ramirez is deliciously campy as the oily “snake,” slithering from scene to scene with tremendous gusto.
There’s also a villainess, Duchessa, representing the entitled aristocracy. Didi Romero is a revelation in the role, giving hilarious expression to her fan dance number “Always Get What I Want.” She and the Governatore join forces with a riotous tango of the baddies.
And that brings us to Austin McCormick’s wonderfully distinctive choreography. His contribution is on display throughout the show, not simply in dance but through movements punctuating the various emotions. Especially impressive is an extended scene depicting a violent attempted rape that feels realistically graphic without losing a stitch of clothing.
Emotions run the gamut in Giulia. From comedy to tragedy, it’s all well earned. Nettles’ ballads are particularly heartfelt. A duet with Giulia and Father Paolo (Sam Simahk) convey the goodness of the church in “Something Holy, Something Broken.” And witnessing life’s perils, Giulia’s daughter, Vitoria (Naomi Serrano) ruefully sings of losing her youthful innocence in “When I Believed.”
Another standout performance comes from Pre Jackson as a narrator figure, Capitana. She is a powerhouse, fittingly introducing us to the “Power, Murder and Betrayal” on vivid display.
Very special mention as well to Daniel Ostling and Ana Kuzmanic, the scenic and costume designers respectively. Ostling’s concept featuring three paneled doors is deceptively simple but it is brilliantly evocative as the doors open up to a myriad of different settings – an ocean vista, a convent hallway, a garden, shelving, a fresco. And it’s all complimented by Kuzmanic’s splendid costumes which have the expensive look of what you’d find in a big-budgeted Broadway musical.
Finally, there really are no words to capture the breadth and virtuosity of Jennifer Nettles extraordinary work in this production. She’s an excellent actor, convincingly morphing from frightened lamb to fearless killer who can boldly proclaim herself a vigilante, saying “I step into a room with a hit list.” It’s a funny line that’s also dramatically honest in this context. The triple Grammy winner certainly has street cred as a singer songwriter, but in this first foray composing for musical theater, she exhibits a unique talent for crafting catchy and memorable tunes that advance the plot while deepening her characters. She’s greatly aided on that front by music director and arranger Adam Rothenberg whose heavy use of percussion infuses the show with a soulful dimension.
Like Giulia, Nettles has created a rare alchemy here. And while you could say both are killers, obviously Nettles is slaying in the good sense. With Zimmerman’s expert direction, Giulia: The Poison Queen of Palermo has that magical stage chemistry that fuses disparate elements into a work of undeniable beauty. I would be very surprised if that alchemy doesn’t grow a set of legs that can take this bravura company all the way uptown to Broadway.
Giulia: The Poison Queen of Palermo opened July 10, 2026 at the Perelman Performing Arts Center and runs through August 2. Tickets and information: pacnyc.org
