Chicago

Atomic Theatre Arts returned to the stage to perform Chicago, filled with jazz and sass, they understood the assignment. Under the direction of Samantha Poston (assisted by Lucia Bird and Victoria Everett), the cast performed with conviction and a true understanding of their characters. They always remained completely professional and kept their energy up. Split staging was used heavily within the production, something I found to be effective due to the overlapping songs/scenes. The switches between sections of dialogue were seamless, with the attention never being drawn away from the action. I also found the court scenes to be staged particularly well, with effective, snappy movement. During “Cell Block Tango” I did feel there was slightly too much going on and it became overcrowded on stage at times with a lot of traffic. There were also red cloths used for this number which were a lovely touch, however the white labels were still attached to them and obvious at times. Samantha also took on the role of Musical Director for the production and did a fantastic job. The vocals from the cast were spot on, with some beautiful harmonies. They were able to blend well, which made for a great overall sound.

The choreographers for the production were Lucia Bird, Finn Scott, Roisin Nair and Kristy Quayle. It can be hard to create a piece of theatre with a cohesive feel when there’s several choreographers involved due to different styles and such, however this team were able to work together to bring some stunning movement to the stage. From start to finish, the choreography was impressive, with neat lines, precision and control showcased from the whole case, something which is very important with this style of show. “Cell Block Tango” was a highlight for me. This is such an iconic number and the choreography delivered. The dance break towards the end of the number was performed with such high energy and impressive talent from the cast. Equally as impressive was “We Both Reached for the Gun”. The physicality between Roxie and Billy in this number was great and I loved the “puppet” movement at the end; it was so visually effective.

In terms of set, this production was quite minimal, which worked well for a smaller stage space. There was a large, 2 tier, circular platform in the centre of the stage which contained red lights around the edges, really tying it in with the aesthetic of the show. This moved backwards and forwards for different scenes. Another continuous element of the set was 2 platforms in either corner at the back. These were used effectively for creating levels throughout production, especially when splitting the stage. Peeking out from the wings on each side were 2 ladders, effectively used in Funny Honey to allow Roxie to be seen above other scenes happening around her. A component I found particularly impressive was the jail bars – created simply with black costume rails and black rope. The audience immediately knew what they were meant to be, and the dancers were able to effectively move through the gaps, adding more dimension in to the numbers. Alongside the physical set pieces were projects onto the back wall. These were kept simple which worked well. Simply setting scenes with the location names or giving newspaper headlines. The set changes, unfortunately, had a large impact on the overall pace of the show. There was no underscoring to accompany the changes which left for long silences, and the changes themselves were quite long. There were various times when the stage crew came on 10-15 seconds into a scene change when the cast had already started trying to move the larger set pieces. It would have been beneficial to have the cast get into their positions (as much as possible) during the set changes, so they were ready to go as soon as the stage was cleared.

Lighting was effective throughout the production, there were a couple of moments where cast members didn’t quite hit their marks for fixed spotlights, but this didn’t detract from the performance as a whole. I liked the heavy use of red lighting; this tied in well with the themes. What I found most effective was the lighting changes during scenes with split staging, the timing of these changes were spot on. The sound levels throughout the production were generally well balanced, with full ensemble numbers hitting the audience like a wall of sound giving high impact to these moments. Sounds effects were well timed throughout, especially the gun shots. The microphones used in the production appeared to be quite muffled at times, with moments where ensemble mics were left on which overpowered principal vocals. One of the standout elements of the production was the costumes. They all tied together nicely without being exactly matching, especially those used for the prison scenes – they were stylish while still letting the audience know exactly what they were. The ensemble all had the same hair styles, which was a great display of attention to detail within the costume plot.

The role of Roxie was played by Paige Chadwick at the performance I attended. This young lady certainly has a flair for being on stage! Her acting, both in dialogue and through song, was brilliant! Always giving a cheeky tone, perfectly able to play the victim and remain true to the character. Paige showcased outstanding vocals along with strong movement throughout. The little winks to the audience were a lovely touch and really got them on side with her character. Her performance of the number “Funny Honey” was excellent – she was constantly weaving in and out of scenes happening around her but drawing every bit of attention to herself. This was an amazing performance from Paige – well done!

Charlotte Woods took on the role of Velma with the perfect amount of sass and attitude. What stood out for me in Charlotte’s performance was that she not only took on a leading part, but was also a featured dancer within the production, but was still spot on with all movement, dialogue and vocals. Her vocals throughout were brilliant, especially during “All That Jazz”. She truly commanded the stage with her presence, and every move was with purpose. A great performance – well done Charlotte!

Paige and Charlotte played a great pairing, constantly trying to “out diva” each other. Their relationship throughout the show was well thought out and had a lovely arc to it.

Billy was played by Jake Guile. Jake gave a strong performance in this role, dripping with swag and charisma from start to finish. He always displayed some excellent vocals – especially during “Razzle Dazzle”. He made the character really likeable to the audience, and he was spot on with his comedy timing throughout. Leilah Strong displayed incredible vocals in her performance as Mama, so much power and control for a young performer! I was blown away. Her poise and presence throughout were perfect for the character, playing the mentor role for the other girls well. Amos was played by Ruby Leicester who did a great job. Her accent was consistently strong throughout, and her rendition of Mr. Cellophane what hilarious. Played so straight faced which was just what was needed to bring out the comedy in the number.

I truly cannot fault the cast in this production; they performed with conviction and high energy throughout the entire show. So much talent displayed from the young actors on stage – I can see great futures ahead! Unfortunately, the production was let down by the set changes. They had a large impact on the overall pace of the show due to the length and silence. I must commend the cast for using their energy, passion and smiles to bring the pace back up each time! I must also give a special mention to one of the cast members who unfortunately broke their foot just 5 days before the show opened – but still performed in a wheelchair! The show really must go on!

Thank you to Atomic Theatre Arts for their invite to watch the show, and I wish them the best of luck with their future productions.

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