John Frost for Crossroads Live
Canberra Theatre Centre
Until 29 September
Reviewed by Samara Purnell
The foyer was full of people in sequined jackets, sparkly dresses, black lace, flapper dresses, jewels and even the staff wore bowler hats for opening night of Chicago. Canberrans had been looking forward to and talking about this production coming here for months and so, with great anticipation, the audience took their seats.
The musical Chicago was based on a play by Maurine Dallas Watkins - a reporter covering the trials of two accused murderesses. It was iconically choreographed and directed by Bob Fosse. Ann Reinking choreographed the New York version of Chicago in the style of Fosse and that is the version currently touring.
Ensemble. Photo by Jeff Busby
Velma Kelly (Zoe Ventoura) and her impending murder trial is upstaged by wanna-be vaudeville actress and freshly accused Roxie Hart (Lucy Maunder). Both are fame-whores, who will use their looks, seduction and any tactics that may appeal to a headline-hungry pack of journalists, led by Mary Sunshine (S Valeri) to get out of jail with a not guilty verdict.
Maunder has brilliant comic timing, expressive movement, wide-eyed faux innocence and sings with carefree delight. “Funny Honey” was performed with lovely vocals. Ventoura brings a child-like determination to the role, her duet with Mama (Asabi Goodman) in “Class” was a standout, as well, of course, was “All That Jazz”.
Asabi Goodman (Mama) and Zoe Ventoura
(Velma Kelly) sing "Class"
Photo by Jeff Busby
As schoolyard shenanigans ensue (even blowing raspberries) with Velma, the escapades of the other women on trial come to light in “Cell Block Tango”. Chairs and spotlights are used, rather than the multi-level jail-cell bars often seen. It makes for a more low-key number from a dance point-of-view but the characters give some of the most well-timed, expressive and clearest renditions of their crimes compared to those heard in other productions, including the 2002 movie.
This was the case throughout the performance - the vocals were clean, clear and the lyrics were easily understood. The balance between the music and dialogue/singing was just right and a credit to both the sound production team and the performers.
The brilliant band sounded much bigger than it looked and were positioned in tiered stairs with mirrors on the stage - likely a challenge given the size of the stage. The musicians get their moment in the spotlight at the start of the second act, much to the delight of an appreciative audience.
Star of the stage Anthony Warlow as the sleazy, money-grabbing slick-dick lawyer Billy Flynn brought as much poise and class as is possible to bring to such a role. His understated confidence was matched by the ease and warmth with which he still hits every note. His duet with Maunder in “We Both Reached for the Gun” was a highlight of the show, with impeccable timing and brilliant physicality.
Anthony Warlow and Lucy Maunder perform
We Both Reached for the Gun
Photo by Jeff Busby
Peter Rowsthorn, best known for his comedic tv roles, does a remarkable job in bringing a level of lamentable naivety that elicits empathy as Roxie’s poor sap of a husband.
This choreography is not as aggressive and flamboyant as other productions. It is contained, slick, exact and strangely more dignified. The ensemble dancing as the journalists was cleverly choreographed, suggestive, and entertaining. “Roxie” showcases the male ensemble who provided a routine and vocals as tight as their pants.
“Razzle Dazzle” had Warlow neatly dressed and with a precisely-presented routine, that despite the feathered fans and singing that implied the number was going to build up and climax, it surprisingly didn’t go to that next level. As was the case for the final number with Velma and Roxy, who remained in black costumes for their duet.
The staging is dark, sleek, attractive, with the actors appearing and exiting from atop the staircase amongst the band. The timing and pacing of the show is faultless. Every exhale, gasp, pop, hiss and whisper is perfectly timed, executed and heard. The sexual innuendo and crudity is genuinely funny, not exaggerated or laboured upon. This Chicago is laugh-out-loud, tight, slick and wonderfully entertaining, and boasts a star-studded cast.
Chicago isn’t a musical that pulls at the heartstrings. The choreography, raunchiness, costumes and instantly recognisable, earworm songs that must be some of the most fun to play or perform has made it the second longest-running show in Broadway history.
It looks set to be one that is talked about locally for a long time too, as the must-see show of the year.
My exit music, please…
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| Lucy Maunder as Roxie Hart. Photo by Jeff Busby |
