Chicago.
Book by Fred Ebb and Bob Fosse. Music by John Kander
and Fred Ebb. Lyrics by Fred Ebb. Based on the play by Maurene Dallas Watkins.
Script adaptation by David Thompson. Directed by Jim McMullen. Musical Director.
Chris Ronan. Choreographers. Emily Appleton. Hannah Carey. Canberra
Philharmonic Society. Erindale Theatre.
March 9-25. 2017
Reviewed by Peter Wilkins
Philo’s Chicago sure is one helluva razzle dazzle show. Slick, slinky and
sexy it sizzles with sex, explodes with
exuberance and sets the stage alight with sheer panache. So what if “nobody’s
got no class”. Jim McMullen’s production has it in spades. From the opening
overture, the orchestra under the baton of Musical Director Chris Nonan and set
in full view on the stage has it. Jim McMullen and Ian Croker’s Art Deco set
design has it. Hamish McConchie’s fabulous lighting for Cell Block Tango has
it. Jill McMullen’s costumes have it. And the large cast simply explode with
it. This is a classy, brassy production that once again puts Canberra’s musical
theatre talent on a pedestal. Director McMullen is fortunate to be able to cast
music theatre stalwarts, Kelly Roberts as Velma Kelly and Vanessa de Jager as
Roxie Hart . Will Huang’s super smooth Billy Flynn strikes gold with his
performance as the high class lawyer.
Shell Tully’ s Matron ‘Mama’ Morton has a voice that would force anyone to be good to “Mama” and grease
her palm. Jonathan Rush’s Amos Hart is pure pathos at its best. This Mr. Cellophane could wring out the
coldest tear.
An effervescent Ensemble bring
Twenties Chicago to life with a cavalcade of fabulous routines. Choreographers
Emily Appleton and Hannah Carey fill the stage with originality, invention and
flair. Magic moments come thick and fast in this rat-a-tat-tat, sure fire
production of Kander and Ebb’s depiction
of a city that even today records the highest numbers of murders in the United
States. Hamish McConchie’s backlit jailbird effect against the red
cyclorama for Cell Block Tango provides
the perfect atmosphere for the confessions of Cicero’s murderesses. Flynn’s entrance
to a Folies Bergere fan dance routine lends a touch of grace and style and
surprise. Huang and De Jager, supported by Mary Sunshine (Ben Wilson in
falsetto drag) and the Ensemble are brilliant in the ventriloquy routine for We Both Reached For the Gun and Roxie’s Me and My Baby backed by a chorus of
nappy clad and bonnet touting babies brought the house down. Aerialists,
jugglers, Strong Man and contortionists turn the world of razzle dazzle into a
three ring circus.
Canberra Philharmonic Society continues
its running streak of top-notch productions with a Chicago that raises the bar even higher. This Chicago is as good as it gets in the hands of a company that could
get away with musical murder and all that jazz. This is a five star diamond of
a show. Don’t miss it!
