The night I went to preview “House of McQueen” I felt woefully underdressed. I knew the Off Broadway biodrama traced the rocky personal and professional lives of bad-boy fashion icon Alexander McQueen, from his hardscrabble roots in London’s seedy East End to establishing his own celebrated fashion house. And that it showcased a selection of the designer’s fastidiously tailored couture garments, inspired by unorthodox themes like depression, crime, poverty, and homophobia.
What I did not expect was that theatergoers would get in on the act, many sporting looks from the McQueen label or inspired by his ethos. More than simply a play, this promised to be a singular theatrical experience. My Uniqlo jeans and J Crew polo shirt didn’t quite cut it.
The upbeat ’80s pop music (think “Into the Groove” by Madonna, “Pump Up the Volume” by MARRS) booming before the show prefigured a milestone in 1985 when Lee, as he was known by family and friends, quit school at age 16 to become a tailor. (All the more tragic when we know that he died by suicide in 2010 at age 40.)
The star of the show, written by Darrah Cloud and directed by Sam Helfrich, is the eye-popping staging, which incorporates 1,000 square feet of LED screens to generate a dazzling landscape of color, light, and sound. Brad Peterson created the video and projection design, Robert Wierzel handled the lighting, and G Clausen did the sound design.
If only the emotional power matched the technical wizardry. While the digital display and impressionistic, nonlinear narrative approach is exciting, much of the dramatic tension is diffused, compromising the poignancy. Potentially heart-rending moments, such as a character’s untimely demise, barely register.
You might call “House of McQueen” a rags-to-riches story, packed with too many plot points. We see him fighting his way into a job at Saville Row, where they dubbed him “McQueer.” We learn about receiving his master’s degree in fashion at Central Saint Martins, as well as stints with progressive designers Tatsuno, Gigli, and Givenchy. We witness his unofficial marriage ceremony to partner George, romantic encounters with various men, and his father’s rebuke — and his mother’s support — of his effete career choice.
McQueen’s goal was to turn the fashion world on its head by locating beauty in the darkest corners of the human psyche and translating it into confections of fabric, leather, bones, feathers, and human hair. But at what cost?
He meets his champion/muse, Isabella Blow, who becomes a dear friend and heavily influences his career. The posh fashion stylist urged McQueen to ditch his given name in favor of his more alluring middle name, Alexander, when he launched his own label. His rampant cocaine addiction fuels creativity but foils relationships. Ultimately, the pressures of deadlines and expectations become too much.
The large ensemble of 17 is largely outstanding. The firmly grounded British heartthrob Luke Newton, known as Colin in the Netflix hit “Bridgerton,” balances McQueen’s arrogance with an unexpected measure of vulnerability. Sporting McQueen’s trademark crewcut, the physical resemblance is uncanny.
Emily Skinner (“Side Show” on Broadway) avoids the timeworn tropes of a doting, beleaguered mother to deliver a smartly nuanced performance. Catherine LeFrere delves into the role of Isabella with a vengeance, as she tries to cement her place in McQueen’s orbit while battling mental illness.
When the producers couldn’t find a suitable New York City venue to accommodate the show’s state-of-the-art technological requirements, they took a big gamble and fashioned a new theater from an old soundstage. Named The Mansion at Hudson Yards, the space is reportedly the first new theater in Manhattan in 21 years.
“McQueen was about events, his shows were like rock concerts,” enthuses executive producer Rick Lazes on a promotional video. “We were working to build an event that would make Lee proud. We’re channeling his energy.”
To be sure, the show indeed feels like a spectacular event, albeit a disjointed one. They’ve even built a special gallery displaying many of his original couture garments, worth over $2 million. Chances are you’ll see his ready-to-wear pieces worn by audience members as well.
House of McQueen | The Mansion at Hudson Yards | 508 W. 37th St. | $40 – $185 | Thehouseofmcqueen.com | Through October 19, 2025 | Two hours, one intermission
