Chicago the Musical

TODS certainly did ‘Give Me That Old Razzle Dazzle!' A true ‘20’s vaudeville, jazz age look on the world seen through the US justice system - a show about passion, adultery, bribery and corruption, homicide, trials and a hanging threat. Female manipulation fired with jealously using the tabloids to create sympathy throughout, our two leading ladies vie for stardom. All this with the combination of the Ebb/Fosse and Kander magic. 

Jack’s dream musical direction came to fruition with input from Assistant Director Louisa. Jack too was perfect to portray a well characterised Fred Casely with panache, plus other gents of demise, again adding comedy.

Following the black/red publicity colour scheme, a simple sharp folded pamphlet style programme gave all the required information and although mentioned, no NODA crest or strapline appeared. The mug shot idea displaying the various crimes committed  was creative.

A black theatre setting. The hard working twelve-piece band was visual at the rear of the stage -  with great brass sections and included interaction with the players -  worked well for me and still left plenty of working space.  No scenery – just easy moveable pieces – a table for court sessions, wooden chairs, and giving height were scaffold ladders either side used for some raunchy movement giving an added dimension. The ‘cells’ were easily manoeuvred and wheeled silently on and off. 

Costumes were sexy – variations on a theme, all with high strappy shoes, showing off long legs, a bit of lace trimming, a bit of leather very effective.  Shorts  and corsets - and I liked the halter neck all-in-one for Velma and contrasting Roxie in her little black frocks showing off her extraordinary suppleness particularly during the vent and dummy sequence perfectly. The addition of flash colour in Flynn’s jackets and shoes added interest as did the feather boas, the red and blue lighting spots and the contrast surprise of rather dull clothing of Mary Sunshine becoming ‘hot’. Usually played as a male character, this time performed by Heather Barnes, with strong presence and vocal projection in her numbers. Inclusion of well-dressed circus characters  - ballerina en pointe, addition of a tutu, hoops, sword swallowing, stilts, mime etc. very interestingly choreographed and executed – top hat and canes, neat hand gestures,  creating interesting pictures. Marion Wooley was charged with props which included the ‘babies’ for the amusing number for the inmates and Roxie.

Other parts were played by Geoff King as the Judge with Colin Barnes doubling  as the Court Clerk and Sergeant Fogarty. The all-female ensemble too had some good cameo parts - however on a couple of occasions pieces of script were a little unclear audibly, however musically lyrics were both beautifully clear and energetic. Duncan Curtis was responsible for sound and gun effects were precisely cued with David and Stephanie Beeken in charge of splendid atmospheric lighting.

Huge response and strong auditions made it possible to have understudies – not too usual nowadays and tonight the big Velma Kelly part was portrayed by Victoria Jones who carried it off with much vitality and strength of voice. Blond lover killer Roxie, a wannabe star was performed by lithe Natalie Heath who after their character differences launched a successful singing partnership in ‘Nowadays’ and ‘Hot Honey Rag’ – the two actors performing fine duets in both song and dance.  Michael Fitzgerald captured the character of flamboyant defence lawyer Billy Flynn – great finale with ‘All That Jazz’. Hard Cook Jail matron ‘Mama’ Morton was played convincingly by Jo Levett enjoying her ‘When you’re Good to Mama’ song and duet ‘Class’.  We felt for poor old cardy wearing Amos – he loved his Roxie and just wanted to be noticed and delivered the number ‘Mr Cellophane’ so we just felt his pain.  

This was a solid, slick, saucy, foot tapping evening – I just missed a bit of tap!

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