Chicago Teen Edition

Well, new kids on the NODA block, Bedford College Arts certainly know how to raise the bar in NODA District 2. This was the second of their shows we reviewed this month and what an evening’s entertainment they both provided.

Chicago is of course Fred Edd & Bob Fosse’s iconic show, with Music by John Kander, about the murder trial of Roxie Hart, who shot her lover, Fred Casely in cold blood when he tries to end their affair. After unsuccessfully trying to trick her husband Amos and the police into believing that she killed a burglar, she is arrested after confessing and sent to Cook County jail where several other women, who also killed their lovers, are held awaiting trial. Or as the very clever opening announcement at the beginning of Bedford’s version said, “Welcome to an evening of murder, deception, betrayal and corruption.”

The set design by Taya Rolph was simplicity itself, a bare stage all in black consisting of a staircase either end, with three steps, the edges of which were marked in gold, joining the two together, with a large platform at the top of the third one and two further smaller platforms at either end to give additional height. In the centre was an entrance / exit to the rear. At the top of the staircases was a metal balustrade running between the two. Above the stage was a superb large sign saying ‘CHICAGO illuminated with white light bulbs, a very good copy of the show’s original banner. The only other exits were to offstage either side of the foot of the staircases. To my surprise it worked rather well and the first time I’ve seen this show without any staging to represent the prison, such as cells or bars. Very brave but clever!

Lighting by Ryan Windscheffel and operated by Jess O’Brien provided the gloomy atmosphere of a prison very well indeed, but sometimes didn’t quite spotlight the actors in the right place.  A particularly well thought out piece of staging and lighting was the hanging scene – very atmospheric and incredibly effective.  Sound by Sam Holmes and operated by Dillon Swain was perfect for my aging ears and the face mics were particularly, and unusually inconspicuous. All speech and musical numbers were crystal clear. Fabulous job! A special mention to Mic Mixer Sam Holmes, who didn’t have a single gremlin on any of them all evening. Unheard of in most theatrical environments!

Costumes, a collaborative approach by the Director and the cast members, for the whole cast were all black, with differing leotards/crop tops and skirts/shorts for the ladies, chorus and leads, and trousers and tops for the men.  This individualised each member whilst perfectly maintaining a uniform appearance of the chorus. Very well chosen indeed. Make-up and hair were created by students studying on level 3 theatrical makeup course led by tutor Tara Pooley-Green. Wigs, styling and dressing by MUA Els Hibbert, were particularly well done, especially for Roxie and Velma; I couldn’t tell it wasn’t their own hair until I consulted their photos in the programme.

Undoubtedly the star of this show was the choreography by Claudia Calardo and the Director Dannie Stone, which was, to put it mildly, simply stunning. As it says in the programme, ‘with inspiration from Bob Fosse and Ann Reinking,’ which is an excellent description; I recognised much from the original show with their own additional interpretation added. However, this cast had been drilled to perfection and obviously a very considerable number of hours had gone into rehearsing. It certainly paid off, hand, feet and body movements all executed in perfect unison with only the occasional arial movement a fraction out of sync. The opening number of the very well known ‘All That Jazz’ laid down a high-quality marker and didn’t let up till the end of the show. You couldn’t take your eyes off them. As a professional choreographer friend of mine always says, facial expressions, especially smiling can hide a multitude of sins and in the main this choral cast got that and thus captured the mood of each song with some aplomb. So, one or two more smiles and it would be perfection. Absolutely fabulous example of hard work paying off!

This leading female actors in this cast were split into performance days, so they played a lead role on say Wednesday and Friday and a more choral part on Thursday and vice versa.  This was the case with the actors who played: Roxie, Velma, Matron Mama Morton, Annie and Hunyak. We saw the Thursday cast and, oh boy did they make the most of it.

Amy Roblin was an excellent choice as Roxie Hart, nailing the part beautifully and with extensive range to her voice. She handled the comedic side particularly well and when playing innocent, butter wouldn’t melt in her mouth. The ventriloquist scene in the court room between her and Tom Newman as Billy Flynn was superbly realistic and a standout moment. And her rendition of ‘Me and My Baby’ made you breathless just watching her.

Megan Rogerson as Velma Kelly made a great contrast giving us this less subtle, more upfront character, showing seething resentment of Roxie holding her responsible for the delay in her court hearing. And a very distinctive voice which certainly got the audience’s attention from the moment she belted out the first line of ‘All That Jazz.

Tom Newman as Lawyer Billy Finn played the difference between the outwardly brilliant, famous lawyer and his self-centred, egotistical character side with some subtlety, so at times he appeared compassionate and caring and others dismissive and simply obnoxious and of course corrupt.

Orla O’Halloran, as Matron Mama Morton took no prisoners (pardon the pun) as this very corrupt, easily bribed character. Loved her ‘When you’re Good To Mama.’

Ironically, the character that stood out for me was Cameron Shuter as Roxie’s put upon invisible husband Amos Hart. The character goes through every emotional gambit in the book and Cameron played his ups and downs with maturity beyond his years. And he is no slouch in the dance department, with a natural talent that would be the envy of many a budding actor. Your eyes are just drawn to his performance and at the end when he asks for his exit music and with none coming you could feel a sadness come over the entire audience. And a great rendition of Mister Cellophane! Definitely one to watch for the future.

Well done also to: Ash Talbot (Mary Sunshine) with a great operatic voice and her rendition of ‘A Little Bit of Good,’ Rama Balde (June and the alternative Roxie), Lottie Hillyard Slough (Liz and the alternative Velma), Honey McNamee (Dancer and the alternative Matron Mama Morton), Brooklyn Jennings (Fred Casely And Harry), Steph West (Fogarty and Judge), Chloe Dreyer (Mona and Kitty), Martina Andreozzi (Harrison and the alternative Annie, Tallulah Smith (Annie and dancer), Hope Maddocks (Dancer and alternative Hunyak), Tilly Frost (Hunyak and dancer), Preston Sawyer (Juror and featured dancer).

So well done to Director Dannie Stone, her cast and crew. Bedford college Arts is certainly a force to be reckoned with in the performing arts world and it was a pleasure to watch both Chicago and Old Times this spring. You have a great team and some outstanding pupils. Thank you for your hospitality and we very much look to seeing whatever you come up with next.

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