Pop the cork: Pittsburgh CLO's 'Madame Clicquot' is a revolutionary revelation

Even in some of history’s darkest moments, there were still reasons to drink champagne.

This is a fact proven by the world premiere show “Madame Clicquot: A Revolutionary Musical.” In association with 42nd Parallel Productions, Pittsburgh CLO is bringing the story of one of history’s greatest businesspeople to the Byham Theater stage. The show runs through June 7.

With book, music and lyrics by Lisette Glodowski and Richard C. Walter, the show has built for years as concert engagements and a concept album, but Pittsburgh is its first stop as a fully staged production. It brings to sparkling life the story of Barbe-Nicole Clicquot, who married into the already existing Clicquot champagne company. After the death of her husband François, she ran the company on her own — and completely changed the sparkling wine game along the way.

The music is a nice mix of classic and modern, bringing some more current touches to the score while preserving the tradition of good old-fashioned showtunes. Our Madame Clicquot, Victoria Frings, fits the songs like a cork into a bottle, excelling in showstoppers like the Act One closing number where her throaty belt soared cathedral-ceiling high. She and Christian Thompson, her François, were adorable together. He was such a force of positivity and sweetness who brought effervescence to each of their interactions. And Paolo Montalban, who plays Louis Bohne, the Clicquots’ sales manager, is wry, dry and charming, making his moments of genuine emotion even more outstanding.

This show takes place during one of the most tumultuous times in French history, with the backdrop of the French Revolution and the reign of Napoleon Bonaparte. As with any slice of history, the story of “Madame Clicquot” is one piece of the larger puzzle of France in the early 19th century. And — luckily for the audience — Napoleon is himself a character, played by Nick Laughlin. The portrayal is a cross between a flamboyant Disney villain and King George III from “Hamilton.” Laughlin’s mannerisms, vocal affectations and facial expressions lent hilarious melodrama to all of his scenes.

On the other side of the Disney coin was Kylie Edwards as Barbe-Nicole’s sister, Clémentine. Her guileless acting and angelic voice should put her in line to play the next Disney princess. Jonathan Christopher, as Jean-Rémy Moët — the Clicquots’ rival and good chum of Napoleon — can really make you hate him, which is a talent on its own, especially when he has such charisma. And another standout performance comes from Joseph Domencic as Phillippe Clicquot, François’ father and Barbe-Nicole’s biggest cheerleader. The duet that he and Frings share during Act Two will definitely be the cause of some misty eyes.

With such a sweeping narrative and a well-cast ensemble, getting to bring this fresh show from page to stage was undoubtedly an enjoyable project for director/choreographer Laurie Glodowski, and it shows in the final product. Each dance number shimmers with twirls and kick lines, and the staging is eye-catching and dynamic. This is aided by scenic design by Holly M. Breuer, especially in breathtaking scenes like Barbe-Nicole and François’ wedding — and François’ funeral. Projection design by Mark Ciglar transports the audience to fields of grapevines, and sound design from Sam Silva brings gravity and pop to war scenes.

And the costumes. Janet Groom Campbell’s sumptuous, colorful gowns and smart military uniforms are a joy to examine scene after scene. The hues and dazzle really bring occasions like Napoleon’s wedding to a whole new level, under the atmospheric lighting design of Paul Miller.

The Pittsburgh CLO Orchestra is crucial to the success of this show, and they are in perfect form under the guidance of conductor and music director Kenneth Gartman.

Our histories can always use more stories of perseverance and the willingness to hope. Not only did French society change after Napoleon was exiled, but Madame Clicquot changed everything when it came to sparkling wine in France. In this reviewer’s opinion, she deserves her own musical simply on the basis of creating the first blended rosé champagne. She overcame the sexism of her time and the challenges of Napoleon’s reign to create a lasting legacy. This musical honoring her is certainly a cause for celebration.

“Madame Clicquot: A Revolutionary Musical” will run through June 7 at the Byham Theater in Downtown Pittsburgh. For tickets, visit pittsburghclo.org.