Chicago

This time last year Stamford Showstoppers didn’t exist, Chicago wasn’t available and there were far fewer jazz hands, Razzle Dazzle, glitter and sequins to be found at the Stamford Corn Exchange. That was all before Producer, Director, and Choreographer Nicola Sandall discovered the opportunity to perform it. Was this new society worthy of being granted the Rights to perform such an iconic musical? Absolutely!

The action started with chorus members welcoming us to the show as some of them walked down the aisle and the iconic ‘All That Jazz’ music. Vaudevillian, Velma Kelly played by experienced principal Debbie Longley, led the company through the first number and throughout the show with confidence and great singing. The chorus coped well with characteristic Fosse dance routines on a small stage.

Lu Harris, in her first (but I think not last) leading role played the most delightful saccharine sweet ‘innocent’ murderess, Roxie Hart with great vocals and dancing. She was well matched to Glen Whitmore as her faithful and downtrodden husband Amos. I have seen professional productions of Chicago, but Glen’s portrayal was easily my favourite. He won the audience over completely, with an empathetic performance and a quite simply brilliant ‘Mr Cellophane.’ 

Cell Block Tango, where Zoe Stebbings, Di Lander, Katherine Vernon, Hales Beasley and Charlotte Burgess joined forces with Debbie Longley demonstrated the strength of the singing, dancing and stage presence within the company. The slickness of their ‘Pop, Six, Squish, Uh-uh, Cicero, Lipschitz’ was equalled by great explanations of why their man ‘had it coming.’

One lady that no-one was going to argue with was Matron Mama Morton. From the moment that Neri Zaccardelli entered the stage resplendent in furs and pearls it was obvious that this was someone completely at ease on the stage. A fun rendition of ‘When You’re Good to Mama’ contrasting with a sensitive duet with Velma in ‘Class’ demonstrated her versatility.

Newspaper Reporter Mary Sunshine is traditionally a male role, but Gill Flint’s clear operatic voice and church-going persona were more than enough of a contrast when the big reveal to basque wearing burlesque girl happened.

Andy Brown as a somewhat aloof Billy Flynn grew on me as the show went on. ‘We Both reached for the Gun’ with Roxie (as a perfect ventriloquist’s dummy), Mary and the reporters was well staged and ‘Razzle Dazzle’ was particularly impressive, especially the juggling.

Chris Young as Fred Caseley, Duncan Balcon as Harrison and Andrew Cleaver as Sergeant Fogarty supported the main characters very well. The narrators projected their voices well so that even if they were not wearing mics the audience could hear and the chorus played their small cameo roles with confidence.  There were a number of good harmonies, particularly in ‘All I Care About is Love’ and strong singing from the company throughout.

Costumes were suitably skimpy (and somewhat risqué) for the female chorus, but very glittery and Razzle Dazzle was great in red. The set simple - it’s so nice to watch a show that doesn’t have endless curtain/scene changes. This helped to ensure the pace didn’t drop, in fact it seemed to speed up! Sound using the pre-recorded tracks was well balanced and directed by MD Reece Crane.

Thank-you Stamford Showstopper for wonderful hospitality and a lovely Valentines evening, we felt suitably transported back to 14th February 1926!

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