My Own Take: 'Giulia: The Poison Queen of Palermo' at NYC's PAC

The show: “Giulia: The Poison Queen of Palermo” at off-Broadway’s PAC NYC (251 Fulton St.).

What and where is PAC?: The Perelman Performing Arts Center (PAC NYC) is a beautiful building — from the outside and from afar. But it is one of the worst-designed theater spaces I’ve seen in a long time (and I’ve seen plenty). At least practically speaking, with a Mt. Everest of stairs leading theatergoers into a tight lobby when they reach the summit, a labyrinth of corridors leading to who-knows-where and not the speediest of exits for theatergoers. But once in the theater spaces, it’s great. And what’s inside here is something very special.

What makes this show special?: It’s written by and featuring multiple Grammy Award-winner and country star Jennifer Nettles (also a member of Sugarland) and directed by Tony Award-winner Mary Zimmerman (“Metamorphoses”). Oh, and one more thing: Being of Sicilian heritage I was curious about the story.

A true story?: Er…not quite, but that doesn’t matter if the theatrical work creates an engaging, fun and pleasurable tale of its own invention.

And does it?: Absolutely. I had a great time and the musical would be on my highly-recommended list.

The show’s blurb: “ What began as a single act of self-defense ripples through Palermo, creating a cascade of casualties and inspiring a secret sisterhood. But the path to safety is never safe. Can Giulia Tofana save them all without losing herself?”

OK, now what’s it really about?: Giulia Tofana (Nettles) is a master of herbs and has an apothecary shop in Palermo in the 17th century where she sells cosmetics, and potions and lotions for medicinal treatments. She also has one bottle that contains Aqua Tofana, an undetectable and lethal poison, that she uses to save her daughter and herself against her brutish second husband; then again to save a battered bride; and then the word gets out to other women in the city who have zero options in their marriages — and so there she is to aid in this secret sisterhood. As the body count rises and the male population of Palermo falls, her compassion turns into something less admirable.

A Feminist Sweeney Todd?: Sort of. But this narrative is not so much a revenge yarn as one of survival — until it isn’t. The female empowerment themes are clearly stated — if not overstated. Nettles does feature a sensitive and caring priest (Sam Simahk) — but he’s the only male character in the show that is not twirling a mustache. He also gets a lovely solo number and a confessional duet with Giulia, “Something Holy, Something Broken.”

Also giving counterpoint to the murderous mayhem is Giulia’s teen daughter, Vitoria (Naomi Serrano) who has the greatest arc of the show, and stands out in her solo, “When I Believed.”

Under Zimmerman’s vibrant staging (and Austin Mc Cormick’s choreography and movement), the production is all of a unified and beautiful piece, one that evokes the epic in simple-yet-dramatic ways. Visually, it’s a knockout, with sets by Daniel Osling that are both grand and clever and gorgeous costumes by Ana Kuzmanic. Performances are all top shelf. It all adds up to fluid, robust story-telling with a clear-eyed and stylish vision.

So about those performances: Quentin Earl Darrington is regal in every sense as the scheming and duplicitous Cardinale and gives a howlingly chilling rendition in the aria “The Wolf.” Christopher M. Ramirez is playfully wicked as the manipulative Governatore Darrington and gives the show much needed humor. Ditto for the imperious Duchessa, where Didi Romero is simply hilarious in the role — and “Always Get What I Want” is one of the show’s many highlights. The ensemble also shines in “Making a Killing,” an especially delicious number, not unlike “God That’s Good!” in another killer musical.

All in all, this is theater at its best: With imaginative and elegant staging, lavish production values, terrific songs, a great ensemble and a ravishing star performance by a woman who did it all: Jennifer Nettles. Like Lin-Manuel Miranda from that other musical, Nettles wrote the book, music and lyrics, in addition to starring in the title role. (A Renaissance woman indeed.) It’s a demanding acting role in which she triumphs in all its comic, dramatic, and always human moments. She also possesses a stunning voice and she’s crafted a wide range of melodic and bravura songs to showcase those impressive pipes.

Reservations? The use of a narrator feels unceessary — and who disappears pretty much after the opening number, “Power, Murder andf Betrayal.” Giula’s 11 o'clock number also doesn’t measure up to the rest of the score, falling onto trite tropes and easy power chords. (However her “The River” is powerful and more metaphorically smart.)

Who will like it?: Musical theater enthusiasts. Women. Pharmacists.

Who won’t?: Abusive husbands. Creepy clerics. Those not feminist-friendly.

For the kids?: Tweens and teens — especially young women — will respond to the subject matter, the cool staging and the killer score with its “Hamilton”-esque touches and approaches.

Thoughts on leaving the parking lot?: Nettles is an exciting new addition to musical theatre and I hope she’s here to stay. With so many of our legends leaving us, her presence in musical theater is especially welcome.

And the show’s future:? Though the New York Times review by by Elisabeth Vincentelli (one of my favorite critics) was mixed, others shared my enthusiasm. This show deserves to have a future and is almost Broadway ready.

Info: The run right now is through July 26. Audience help: 212.266.3000 Website: pacnyc.org