Chicago

Chicago – Teen Edition

Performed By Exmouth Youth Theatre

On Thursday 13th June and Friday 14th June at Exmouth Pavilion

Lyrics by Fred Ebb and Music by John Kander, book by Fred Ebb and Bob Fosse

Director and Choreography - Tracey Hamilton

Assistant Director - Mike Hamilton

Musical Director - Alison Dale

I entered the auditorium and heard gasps from members of the audience when seeing an open stage set with a huge, beautifully lit ‘Chicago’ sign hanging front and centre of the stage. Steps had been built on both stage right and left,  leading up to a raised terraced walkway, with two entrances on to this raised staging from either side of the stage. With four further entrances stage right and left, this clever design allowed the cast easy access and a great performance space for the production. It also allowed the smooth transition of scenes. Even with a static set, changes of scenes can be arduous to watch but this flowed perfectly. It really was seem-less. The cast were used to great effect placing stage props and acting from the minute they walked on stage. Cleverly, two stage mics placed front of stage left and right and on the corners of the raised staging, were constantly used by various cast members to narrate the story. This also helped to cover the movement of stage props and cast exiting and entering the stage.

All of this was lit, brilliantly (no pun intended) using a Colour Web, a pixilated backdrop which allows flexibility with differing lighting designs and colours for each scene. This sparkling curtain was used to excellent effect throughout the show, such as, a gorgeous cerise pink in ‘When you’re good to Mama’ and bright red in ‘Cell Block Tango’. I actually wish I had taken photographs of each scene to prove how this show was lit so expertly. Six movable lights, positioned rear of stage, facing toward the audience, were used to light the cast from behind, creating amazing silhouettes, such as in ‘The Press Conference Rag’ enhancing the dance and musical numbers. Stage downlights of blues, whites and red, superb lighting from a lighting cube above the audience with a great use of a follow spot, altogether gave the production that added creative excellence.  Not that it needed it. This production was exceptional in so many areas.

The three leading roles of Roxie Hart, Velma Kelly and Matron ‘Mama’ Morton were shared by actors over the various performances and I understand why the director chose to split the roles as all were very talented. I watched two performances to allow me to see both teams of leads. Roxie Hart, shared  were both well directed. Sassy, petite, foxy and decidedly devious. Both had strong, clear vocals, with individual yet very similar characterisations of the part. Again, both had great comedic timing, especially as the Marionette with Billy. Really impressive.

Velma Kelly, kicked off with ‘All That Jazz’ and its iconic choreography, they both fronted this song well and developed their performances throughout with strong vocals in I Can’t Do it Alone’ and ‘When Velma Takes the Stand’. To me, this is a sophisticated yet arduous role, needing a competent actor, flexible dancer, with a melodious, robust voice and both actors had these attributes and used them to great effect. Well done both of you.

How we love a mother figure and ‘Mama’ Morton is representative of this but with a narcissistic twist., dressed in a classic red suit and black top, ‘When You’re Good to Mama’ was sung with emotion and clout, carrying the New York accent through the song. Believable performances from two talented actors. Along with Billy, portrayed as a conceited and egotistical lawyer by this actor who, you could see, relished such a role. He sang well in ‘All I care about is love’ and ‘Razzle Dazzle’, believably self-centered and manipulative, especially with poor Amos Hart. Amos was delightful as a naïve, browbeaten, crushed, demoralized, simple man in love with his uncaring wife, Roxie. His performance of ‘Mister Cellophane’ was sincere and well received by audiences. As was Mary Sunshine with a  lovely high soprano voice with a lovely tone in ‘We Both Reached for the Gun’.

At times, I forgot I was watching a youth group and especially when watching the incredible Merry Murderesses in  ’Cell Block Tango’ performed by Liz, Annie, June, Hunyak, Mona and Velma. The use of the movable cell doors by the actors with differing stories to tell , each with stunning voices and diverse choreography was memorable and the audience loved it. As did I.

With a talented ensemble and excellent supporting actors portraying Kitty, Harry, Judge, Harrison and Clerk and all of those who narrated the story, this show ran smoothly due to the teamwork of the cast. Great New York accents and clear diction from both Kitty the heiress and the feisty Sergeant Fogarty. Fred Casely, Roxie’s deceitful paramour, was nicely done by this actor who died well! (great stage fall).

This was a show that achieved a significantly high mark in so many ways. Including the incredible costumes, a task indeed for such a large cast. The ensemble in black and silver shorts, skirts, dresses, silver waistcoats for ‘All That Jazz’ including black shirts and silver bow ties. All dressed in beige trench coats for ‘They Both Reached for the Gun. The Merry Murderesses in differing designed red sparkly dresses. Velma in fitted flapper dresses, black wig and black lace arm covers. Amos in his sleeveless patterned jumper and bow tie. Roxie with a blonde wig reminiscent of Shirley Temple with a black lace dress and furs. Billy Flynn in a dress suit, red bow tie and white flower in his button hole and Mary Sunshine dressed in a 1920’s long skirt and jacket and hat. This was a well-costumed production with attention to historic detail.

Complicated ensemble choreography from a ‘Fosse style’ All That Jazz, sharp and poised with Velma being lifted by the cast on her side as she continues the song to ‘Me and My Baby’ and the beautiful feathers used to great effect in ‘All I Care About is Love’.  It is obvious that Tracey Hamilton, with the assistance of Mike Hamilton, wanted to concentrate not just on the choreography but also pay attention to detail with each of the actors’ characterisations and natural believability in their portrayals. Alison Dale has worked particularly hard with all of the cast and not just the soloists with clear diction and harmonies from everyone on stage. This is needed as some of the numbers are wordy and, more significantly, need to be heard by the audience to help follow the story.

Again, Exmouth Youth Theatre, having been nominated by Noda every year since their conception three years ago, have created a superb piece of theatre that surely deserves to be rewarded.  With a well-deserved standing ovation from their audiences, I add my congratulations to the entire cast, crew, lighting and sound for a dazzling production of Chicago (Teen Version).

Lyn Burgoyne (Noda Representative, South West, District 5 (Mid and East Devon).

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