Chicago

Chicago is a musical set in the mid-20`s, with music by John Kander, lyrics by Fred Ebb and book by Fred Ebb and Bob Fosse. It is based on the play of the same name, written by Maurine Dallas Watkins- a reporter. Watkin`s play Chicago, gave a fascinating and satirical insight into the corruption in the administration of criminal justice and the legal system of the time, providing us with a whole new view of the `celebrity criminal’.

 Set in Cook County Jail, each character tells their stories through staged introductions, song and dance

 Katie Priss played Roxie Hart, the fame hungry, self-centred and not particularly bright wannabe star who`s imprisoned after killing her lover. After a tentative start, Katie really grew into the role, allowing Roxie`s incapacity to think about the consequences of her actions to show through. The main thing about Roxie, is that in essence, although not particularly ill-intentioned, her character is a dislikeable one, and has to be performed in such a way that the audience has to grow to like her and have an affinity with her. Katie achieved this with aplomb.

 Bronte Tranter took on the role of Velma Kelly, the Vaudeville performer who caught her husband and sister performing their own “routine” together and killed them both. When Bronte first took to the stage, I did wonder whether someone so petite and youthful could carry such a role off. There was absolutely no fear of that- from the moment the spotlight hit her to the moment the curtains closed- Bronte was impeccable as Velma Kelly- sarcastic, tough and sassy, throw in a touch of vulnerability and you have the perfect Velma. Add to that pitch perfect vocals with footwork to match. Velma Kelly is used to being the headline attraction, in this production, Bronte Tranter was. Wow! Just Wow!

 Dave Stockton played Billy Flynn, the well-educated, suave lawyer. Dave gave a confident performance, playing him as a hubristic sophisticant- playing it more to the audience than interacting with the people onstage around him. If this was the director`s intent, then Dave carried this off to a tee.

 Mama Morton, the County Cook Jail Warden was played by Laura Bradbury. Mama treats all the inmates like her family. Mama will do anything for her “children”, as long as they do something for her- Laura`s interpretation of mama came across really well, and you could truly believe the inmates had a certain level of trust in her. Her duet, “Class” with Velma was one of the highlights for me and will stay in the memory for a long time to come.

George Melvin assumed the role of Amos Hart- Roxie`s husband, a simple, hard-working, good natured “nice guy”. The only really altruistic person in the show, and as such is constantly trying to do the right thing and never recognised for it. Amos is easily manipulated by everybody, and because of this, is ultimately the loser.  With George`s clear vocals and unassuming nature, George carried it off well, and had the audience in the palm of his hand with “Mister Cellophane”.

 Karen Barker played Mary Sunshine, the tabloid reporter who always presumed that there was a little bit of good in everyone, including cold blooded Killers. Normally played by a man in drag, you could tell Karen really enjoyed playing Mary.

 As characters, (and this goes for all of them), individually the performances worked well, but put together with their suiters, their relationships were slightly less believable, with  references made throughout the piece about the history between characters, and the obvious differences between people playing them.

 Chorus numbers were well delivered throughout, with a large nod to Fosse`s choreographic style, and the more experienced members shining through- this showed to a greater degree with the Merry Murderesses in the Cell Block Tango- June, Hunyak, Mona, Annie and Liz (Rachel McKimm, Gabrielle Grace, Phoebe Dodd, Rachel McClure and Melissa Evans), all comfortable in what they were doing and what they were wearing, something some of the chorus seemed to have issues with. Shout out to Gabrielle Grace`s flawless accent- not a clue what she was saying (without googling it), but who cares? I could listen to her talk like that forever! Well done Gabrielle. On a couple of occasions though, the vocals onstage probably needed the help of those offstage, as, in some of the numbers there were some pitching issues.

 Staging was really good, a raised platform upstage with the (excellent) orchestra on it, “CHICAGO” lit and suspended behind them. Raised rostra in the shape of a V, with the apex at the orchestra, a lit staircase from the “V” down to the main stage, using lighting and props to define different locations.

 With scenery and props stripped back, some of the scenes and reasons behind them were lost-the tailor scene and hanging scene were the most noticeable ones, and when you do strip it down to minimums, everything you do use needs to be right ( oversized cartoon cigar anyone?). With set and props cut to a minimum, the one thing that has to be right is the lighting- this was excellent, setting the mood perfectly in the prison. A lot of time must have gone into the plotting, and it showed. My only gripe with the lighting was the three bulbs out on the stage left steps not working, and due to the power of Facebook it was noticeable that they weren`t working all week-from technical rehearsal to closing night- not a particularly difficult  problem to fix, and makes a huge difference.

Whilst I enjoyed this production, I couldn`t help but think about when I first saw Chicago, it was raw, sultry, steamy, sweaty, smoky and sexy.

The re-imagining of the show in the 90`s seems to have made it a little less raw, a little more sanitised, a little more safe.

I do have one real bugbear/observation, and have had it over the last couple of years. Not just about this production, but productions in general, and as quite a few people have mentioned it prior to and since I`ll say it-body art. Yes, I love it, but not necessarily onstage. Whilst I absolutely understand everyone`s freedom to do whatever they wish to themselves as it is their fundamental right to be themselves, if you`re onstage, you`re not being yourself, you`re being a character from an era. If the era is non-specific, it doesn`t matter, but if the era is specific, it does (applies to men and women). I know it doesn`t change the level of performance, nor if anyone can sing or dance, but if I am to suspend my belief for a few hours, and be taken elsewhere and to a different time and place, I have to believe I am being taken to the era in which it`s set. There is make-up available ….

 As noted before, under the more than capable hands of Ciara Preston, the orchestra were excellent. You could tell Ciara had put a lot of time in this, with principals and chorus alike, as she had to have the confidence in the performers to be able to perform without her being out front.

 Graham Barker`s choreography was slick, and as Fosse-esque as you would expect from Graham.

 Chris Barker should be really proud of this production, his production team and what the cast achieved with it- whilst I know people will be reading the review, thinking I`m nit-picking- yes, I am. CAST have come on in leaps and bounds over the last couple years, and I commend them for it, but the devil is always in the detail, and if the keyboard warriors out there are just going to say how wonderful everything is, nothing will ever change.

 Well done CAST, thank you for your invite, and hospitality.

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