Chicago

There are certain revivals of iconic shows that are approached as though they’re a listed building: the structure is to be left alone giving the sense that any alterations to style and inclusions of something different to make it appear new and revamped could potentially result in legal action. No title radiates this notion more than those crafted by Bob Fosse whose eminent style proffers his shows with a flair that a show of his, presented without a nod to his celebrated style, would seem immoral especially when taking into account that shows that have his name to them is what’s largely due to the show being a success. There are certain elements of this particular title that the masses would not dare to mess with and would be likely to result in the “but that’s not how it’s done!” argument. It’s a topic which divides many people’s opinions. Those who’re gutsy enough to risk it present a fear of disappointing the punters – many of whom would have purchased their tickets to see a replica of a show they love complete with signature steps and nuances which emulate the prodigies who’ve delivered them before, however… where’s the fun, the creative element or point in that? I really can appreciate both sides of the debate. Director, Mark Rosenthal and his choreographer Helen Wilkinson each clearly had their influences of previous presentations of ‘Chicago’ and merged them together for this airing by PADOS. Helen’s boldest influence evidently came from the 2001 film with her killer rendition of ‘The Cell Block Tango’ at the heart of it, which was nothing short of a visual spectacle. This production showcased the strongest choreography I’ve witnessed from Helen and indeed this society before and for a production of ‘Chicago’ that’s certainly not an easy triumph.  

Opposed to the usual glossy, slick and clean image that’s regularly offered with this show, this troupe of dancers brought a rough and ready burlesque edge to the presentation, an underworldly style during the 1920’s which was a clever angle for the look of this show making it work for this cast whilst playing a counterpart to the shows lewd themes wonderfully. The dancers were given a mammoth amount of choreography – more than the norm for this show, believe it or not – which, in one respect, is to be commended. The lions share of the movement was attacked with vigour and the style radiated which was an overarching asset to the entire presentation.

It’s nothing new for me to report after seeing a show at this venue that the sound from the musicians is hit and miss. What I missed most from this airing of the score was experiencing the blast of brass, it’s something that we’re just not going to feel when they’re playing in a cupboard backstage though I appreciate there’s limited alternatives for live musicians in this theatre. Following on from what I’ve said previously when I’ve seen musicals in this space, from out front, I could only hear certain instruments as the mics were not picking up each of them, some were heard faintly in the background but still not prominent enough and it was all too quiet for the most part when out front. It probably sounded terrific in the room they were playing in but it wasn’t until they punched out the exit / playout music that I could appreciate and feel a bit of the excitement from this extravagant score in the auditorium.

Izzie Feld wonderfully exuded the comedy elements of the fame hungry, fiery tempered murderess Roxie Hart. Izzie certainly brought a terrific voice to her rendering though I did question her vocal style which didn’t fit the era of the piece with her modern pop bends which felt out of place in this show. Being a role which demands triple threat abilities she was indeed a confident mover and appeared to be at ease in this pivotal part. Clarity was a hinderance at times as some words and phrases were a struggle to decipher but nonetheless this was undoubtedly a sturdy act for her PADOS debut, the potential here is definitely one to nurture for an exciting future on the stage should she so desire it.   

Roxie’s rival cellmate and fellow murderess, Velma Kelly, had an ideal sizzling venom thanks to Katherine Reynolds’ portrayal, a show stealing performance from this terrific all-rounder and PADOS regular, Simon Fletcher, gave us the cunning Billy Flynn which was peppered with vaudevillian flair thanks to some cheeky side glances out front which is Simon’s inherent style working a treat for this character.

The in-house designed and built set was an innovative plan and nicely finished though I cannot avoid mentioning those two wobbly, steep and narrow staircases! I think we all held our breath and clenched our bottoms whenever anyone started to climb down them.

Any of the roles in this show have the potential to steal the show depending on the individuals playing them which is what ensures no two productions of ‘Chicago’ are ever alike. Timothy Platt gave us a stonking act as the doting husband, Amos Hart, ensuring he hammed perfectly - where he could afford to - without over doing it, savouring moments beautifully during ‘Mr Cellophane’. Tim also had the sense of a vaudeville turn to his portrayal which, like Simon, depicted the initial vision of the show when it was first devised, a trait which is often lost and not consciously displayed in some of the more modern revivals. Krissy Friday was our Mary Sunshine, if I wasn’t familiar with this musical I would’ve been confused by this character after seeing this production, it was apparent that the concept of this role was not understood as the reveal at the end of the courtroom scene wasn’t really revealing anything we didn’t already know. This character is meant to be a female impersonator as opposed to a deliberate drag queen with the idea to have the audience assume that Mary is a woman until the reavel, it was clear from the moment Krissy made his appearance that we were watching a drag act which missed the mark and point of this role. Alison Foy-Thackwell nicely avoided playing Mama Morton as the comedic villain (a common trap) and underplayed her a tad to give us a tough - no nonsense - cookie which I greatly favour over the former.

If we ignore the mixing of the band microphones - which I appreciate isn’t an easy (or cheap) undertaking to do properly - the show was supported excellently by the tech team, we were treated to an attractive lighting design and the sound from the on-stage microphones ran without any noticeable glitches.  

It’s often worthwhile for me to remind readers of reviews that every production comes with its gripes be it professional or amateur. Unfortunately, it’s my duty to dissect and lay out the warts an’ all no matter how minor they may seem to be which is the burden of elimination and the obligation of adjudication. Faults can be found in anything if examined hard enough, regrettably (as an adjudicator) they’re for me to dig out and weigh up. But overall, regardless of the occasional bleat pinpointed above this production undoubtedly turned a corner for PADOS as the strongest adult musical I’ve seen from this society to date for which everyone involved should be immensely proud. I thoroughly enjoyed the evening watching one of my all-time favourites. Many thanks PADOS!

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