The true story behind Chicago is so fascinating that it still resonates a hundred years after the action. In 1924, Chicago was overrun by gangsters, with prohibition-era criminality infused with a smoky jazz background. On “murderess row” in Cook County, over a dozen women were waiting sentencing. One woman, Kitty Malm, dubbed by the newspapers as “Wolf Woman” due to her looks, was suddenly given a life sentence. She was convicted with flimsy evidence of murdering a security guard.
A young reporter for the Chicago Tribune, Maurine Watkins was assigned the task of reporting the trials of women accused of murder. Two women stood out to her, Beulah Annan and Belva Gaertneur, both accused of crimes of passion. Both women were young, beautiful and captivating. After both were acquitted, Watkins went on to fashion a play based on the two women. It was initially titled The Brave Little Women before being renamed Chicago. This play was subsequently used as the basis for two movies and then the 1975 Kander and Ebb musical that is presented today.
The setting is a nightclub in Chicago, Illinois, 1926. The Master of Ceremonies announces “Ladies and Gentlemen, you are about to see a story of greed, corruption, violence, exploitation, adultery, and treachery…all those things we hold near and dear to our hearts. Thank you…and welcome.”
A smoky, dark trumpet sets the scene. The orchestra is arranged vertically at the rear of the stage, framed by a golden square arch. Suddenly the entire chorus pour on stage, and “All That Jazz” brings the audience into their world. No time for introductions, as we watch the black scantily-clad dancers writhe and perform in unison. It’s an uplifting insight into the feeling of that era, the decadence and extravagance.
Suddenly the stage clears. Two beautiful scantily clad figures are embroiled in an argument. He wants out. She needs him. Shots are fired. He’s dead.
Thus begins Chicago. Cut to the bedroom where Sergeant Fogerty is questioning Amos Hart, (Roxies doting husband) who confesses to the murder out of loyalty. However, the truth comes out and Roxie is arrested for murder. She finds herself on “Murderess row” run by Matron ‘Mama’ Morton and surrounded by women in similar circumstances, all with sad stories of drunken revenge. Velma (arrested for murdering her sister and lover) is currently the top dog on the inside . The two immediately clash and vie for fame and a certain notoriety. Cue self-centred lawyer Billy and you have all the ingredients for a fascinating story.
There are minimal set changes for the performance, the vertical layout of the orchestra allowing for dramatic entrances and exits. Clever lighting adds to the mood, from a dark smoky nightclub to the cold harshness of a prison cell. Movable ladders and the chorus seated in the wings give a sense of space. The closeness of the podium contains the action to the front of stage, giving a real sense of being close to the action. While the sound was particularly clear and bold, I did hear a complaint from an elderly gentleman, that the lack of surtitles in modern plays made it harder for him to follow the story. Similarly, there were very few costume changes during the two act performance. In a way it keeps the focus on the characters and the story, rather than the costuming.
The casting itself was top-notch, with a charming yet cunning Zoë Ventoura channelling Velma Kelly. In a story that highlights the fascination that the press and public have with beautiful women, Lucy Maunder was equally delicious as Roxie Hart. Zoë is probably best known for her role as Mel on “Packed to the Rafters” and with her television and stage acting experience was a delight to watch. Lucy has also had extensive stage and television experience and the chemistry between the pair was palpable.
Roxie’s husband Amos was played sympathetically by Peter Rowsthorn, well known as the the long suffering Brett from Kath and Kim. As the doting husband, he comes to the realisation that he is like cellophane.You can look right through him, walk right by him and never know he’s there. Roxie convinces him to fund her defence to the tune of $5000 to hire Billy Flynn, played by a fabulous Anthony Warlow. Bringing his operatic experience from The Phantom of the Opera, he elevates the role of the lawyer with pizzaz and flair. Listening to his incredible vocal range is truly outstanding.
Asabi Goodman was equally delightful as the Matron and mother for the girls, whilst S. Valeri was hilarious as the doting left-wing do-gooder journalist. “There’s a lot of favours I’m prepared to do. You do one for Mama and she’ll do one for you.” So many quotable lines and in-jokes keeps the audience on their toes. The chorus were well coordinated, agile, sexy and kept the pace and energy flowing. It all seemed so effortless and simple, yet the complexity of choreography is clearly well-practiced.
While thriving in the spotlight of fame, both women flourished, only to taste its fickle nature. For a story that is from a distant time and place, the underlying observations still ring true. Everyone involved in this production can fell proud of what was achieved. The Bob Fosse tribute dance moves were first rate. The orchestra captured the sound of the era flawlessly. The simplistic set and lighting design was an artwork within itself. The show received a well deserved standing ovation for the entire cast. An uplifting and entertaining evening out. Who doesn’t love a decadently wicked crime story told with flair and passion?
FIVE STARS (OUT OF FIVE)
The reviewer attended the performance on 8th August
Photos by Jeff Busby
ADELAIDE
Venue Festival Theatre
Season 4 – 31 August
Bookings: chicagomusical.com.au or phone 131 246 (Groups 8+ call 08 8205 2220)
CANBERRA
Venue Canberra Theatre Centre
Season 7 – 29 September
Bookings chicagomusical.com.au or (02) 6275 2700
Another musical touring nationally direct from Broadway is Sister Act. Starring Casey Donovan, Genevieve Lemon and Rhonda Burchmore.
Later in the year the Tim Rice and Andrew Lloyd Webber musical Jesus Christ Superstar is also touring.
