Chicago

Fresh from their production of ‘Grease’ earlier this year, Curtain Call Productions are back with a smashing version of Chicago.  Set in the round, this production was a great showcase for the obvious dance talent amongst the large group of members.  The director (and choreographer) for this production was, once again, Joel Montague.  Joel produces shows that are visually appealing to the eye and this was no exception.  It is very clear that the abundant cast are strong in their dance ability.  It was also brilliant to see so many male’s dancing – and dancing well!  Joel, and his assistant choreographer (Rhianne Stubbs), captured the Fosse style wonderfully well and the musicality in the choreography was brilliant.  I could hear lots of gorgeous harmonies from the chorus too but as most didn’t have mics on, this was slightly detrimental to all of the hard work from the cast as the band were very loud throughout.  Chicago has a very specific style but there are moments in the script which lends itself to showing moments of vulnerability from some of the main cast.  I felt that some of these moments were slightly missed in this version.  Some of the storytelling was missed also.  There are opportunities for things to be delivered in a real and truthful way rather than ‘performed’.  I’m being VERY picky here, I just felt that the emphasis was more on performance rather than character.  Despite my own personal thoughts, everyone’s performance was still strong.  There were various technical issues which were detrimental to the production.  The mics were not cued on time, with some popping in and out (The Master of Ceremonies and Mamma Morton).  Some of the lighting states didn’t fill the actors’ space but this might have been the fault of the performer.  The band were also far too loud throughout which meant that it was hard to hear the great singing from the cast – which then impacted on plot.  Whilst the set looked great, I felt that it could’ve been used more, particularly the upper deck of the set.  I also felt that the screen was not needed at all as it didn’t add anything to the production.  One other negative from me was the spacing of some of the numbers.  As it was in the round, parts of the staging meant that the people on the far ends of the semicircle couldn’t see the action.  I had a perfect view throughout (I was in the middle) but I could see that others were straining to see during ‘All I Care About is Love’ and the ‘Courtroom’ scenes etc.  Despite all of these niggly bits, this was still a strong show and a VERY entertaining show!  Choreography was superb too!  The audience, myself included, were entertained throughout.

Michael J Scott was at the helm as MD and conductor.  I felt totally at ease with Michael’s direction.  The orchestra were excellent.  Perhaps we didn’t need a full orchestra in such a small space?  The orchestra was VERY loud, too loud in parts, which meant that we lost harmonies and storyline.  Overall though, the orchestra played VERY well and sounded brilliant!  My favourites were the trumpet and the trombone!

Costume and wigs were good.  I loved the wig for Velma which miraculously didn’t move an inch despite the rigorous dancing from Rhianne!  The set was great also.  I liked the clever use of the clothing rails as jail cells which were used very well in choreography and staging during ‘Cell Block Tango’.  As I mentioned above, I felt that the screen wasn’t needed or that the top deck was used enough as it could’ve been – but this is just my opinion.  I loved the use of the placards on the easel – a genius concept!

Lighting cues were outstanding!  I loved the way the lighting design linked directly with the beats in the music – this didn’t go unnoticed and was very much appreciated by me. 

Velma Kelly was played by Rhianne Stubbs.  I think that it’s fair to say that Rhianne performed this part as if her life depended on it!  Her commitment to character and performance was outstanding.  Whilst her vocals were not as strong as her dancing ability, she still sang really well and was very entertaining to watch.  Her high kicks deserved a NODA award alone!

Aisha Clasen portrayed Roxie Hart with ease.  I would’ve loved to have seen more sides to Roxie than was shown but this is just a personal preference.  Aisha had a class about her in the way that she danced and performed – it looked as if she was totally at ease.  I wasn’t a fan of her wig style, but this had no impact on Aisha’s performance.  Aisha’s version of Roxie was brilliant to watch!

Billy Flynn, the big shot lawyer, was brilliantly played by Sean Clark-Wilkinson.  Sean also looked at ease playing this role.  Whilst his suit looked a little big and a little cheap for a man of his (Billy’s) stature, Sean used it well to convey character.  Sean played, danced and sang the role very well and was very well cast – a joy to watch!

Natalie Kent commanded the stage as Mamma Morton – a part she was born to play!  There were a few opportunities missed during acting scenes for me, but overall Natalie gave a fine performance as the keeper of the keys.  Natalie brought a great stature, looked amazing in her suit and sang brilliantly.  Perfect casting!

Sam Dale was entertaining to watch as Amos Hart.  I personally felt that it was a little over-performed rather than just (being) but my guest, and the audience, definitely disagreed with me so what do I know?  His version of ‘Cellophane’ was delightful.

Chris Barker did very well also in the role of Mary Sunshine.  Chris looked brilliant in his costume and sang very well to hit those notes!  Chris was also entertaining; captivating even.  He gave light and shade and found the humour.  I also liked the rapport between Mary and Billy.  If I was to be picky, I would’ve established Mary as a reporter with a microphone or a notepad at the beginning as this was missed (the band were too loud), rather than carrying a handbag the whole way through as I felt it wasn’t too clear from audience members who hadn’t seen the show before.  Again, this is just a personal opinion.

The five other ‘merry murderess’ were fabulous.  Diane Wye (Liz), Rachel Bate (Annie), Caroline Coles (June), Libby Knapper (Hunyak) and Heather Taylor (Mona) were very entertaining to watch and performed ‘Cell Bock Tango’ and ‘All That Jazz’ very well.  These songs helped open the show, set the scene and helped establish style and character – well done.  I was a little underwhelmed with Hunyak’s hanging (from a directorial point of view) but all were very well cast and sounded great!

Steven Coles was a busy man throughout this show as the Master of Ceremonies.  I felt sorry for him as his opening lines of nearly every bit of dialogue was missed due to his mic issues, but Steven didn’t acknowledge this at all.  His diction, articulation and dance ability were fab!

The rest of the vast chorus, including Eddie Thomlinson-Cliffe (Fred Casely) gave a great performance in style and execution.  It was a visual treat for the eyes!  Due to cast not being mic’d and the band being loud, I missed some of the lovely harmonies and wanted to hear more.  This is very much a great showcase for the chorus members of a society and what a showcase it was!  Well done to Curtain Call Productions for another great production!  Thank you once again for your hospitality and I wish you all the very best for your 2020 season!

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