One of the best things about the new incarnation of the musical “Here Lies Love” which has recently opened at the Broadway Theatre, is that it does not rely on that common fact that Imelda Marcos had more than enough shoes. There are many other aspects of this production that make it an entertaining evening, including the cast, music, technology, and design team that put forth an adequate history lesson about the rise and fall of the Marcos regime in the Philippines. Packed with a political punch, it is also a love story, that tackles themes of betrayal, greed, infidelity, and power. It is not presented in a traditional theatrical style, but uses many moving stages, projections, rolling stairs, and a disco setting, achieved by removing the seats in the orchestra where audience members stand on the disco floor while being directed by stage coordinators, (resembling aircraft marshallers), on when and where to move as stages slide, move and rotate. There are catwalks surrounding the disco floor and stages in the first mezzanine level that are used by performers to make it part of an audience immersive production, along with a DJ (a vibrant Moses Villarama) for the disco, who assumes the role of a quasi-narrator. Believe me, this history lesson that uses a quite different concept has never been so much fun and follows a similar initiative of “Evita,” “Hamilton” and “Six.”

The story revolves around Imelda Marcos (a captivating Arielle Jacobs), from her troubled childhood, and close relationship with family caretaker Estrella Cumpas (a sincere Melody Butiu), to her rise to fame and fortune after marrying Ferdinand Marcos, becoming First Lady of the Philippines. It examines the trail of deceit and deception that led to their wealth and power. Political opponent Ninoy Aquino (an intense and powerful Conrad Ricamora) criticizes Imelda Marcos’ excessive spending which causes unrest and demonstrations, which eventually ends with Aquino being imprisoned. Ferdinand’s affair is made public by his movie star mistress (a convincing Julia Abueva) when she releases tapes of their secret interactions. To quell the opposition Ferdinand declares Marshall Law with Order 1081. While in prison Aquino has a heart attack and is released from prison and sent to the United States for bypass surgery. Years later Ferdinands health is in decline, and Aquino decides to return to Manila where he is assassinated as he disembarks the plane. Aquino’s widow Cory (an exuberant Kristina Doucette) runs against Marcos and both parties claim victory causing civil unrest and the formation of The People Power Revolution, which results in the Marcoses being airlifted out of the country by US marines.

The stimulating production is mostly sung through and projections on walls and screens aid in the telling of the story recounting events in history. The music by David Byrne and Fatboy Slim provides an invigorating score that gets the audience moving and involved. Mr. Byrne’s lyrics tell the story well and supply adequate emotional drama, so actors can create dimensional characters. Scenic design by David Korins affords the production a fluidity that helps move things along at a very rapid pace. The spectacular lighting design by Justin Townsend provides a kinetic energy that transports the audiences to several different locations. Costumes by Clint Ramos always provide a special touch to each changing scene. Director Alex Timbers once again impresses audiences with his unique and captivating direction that never seems to let the audience catch its breath. Finally, Lea Salonga makes a remarkable appearance as Aurora Aquino at the funeral of her son Ninoy, once again proving her ability to command a stage, and bring an audience to their feet.

What would best describe “Here Lies Love” is a theatrical experience, which is both entertaining and enlightening. It is an immersive spectacle that is almost guaranteed to impress. It may not be the best piece of traditional musical theater, but it scores very high on the entertainment level.