Chicago The Musical

By Angie Bedford

Chicago The Musical

Get ready to paint the town… Chicago : The Musical is back in Melbourne!

The packed crowd at Her Majesty’s Theatre were treated to a phenomenal opening night performance of the International smash hit musical Chicago.

This is a story of Murder, Greed, Violence, Corruption, Exploitation, Adultery and Treachery… welcome to 1920s Chicago, Illinois, where murder, sex and jazz are big news.

Chicago is the story of merry murderesses Velma Kelly (Caroline O’Connor) and Roxie Hart (Sharon Millerchip), who are sent to the Cook County Jail for committing cold-blooded murders.

Both enlist the help of slick lawyer Billy Flynn (Craig McLachlan) to razzle dazzle their way towards acquittal, using every manipulative trick in the book.

Chicago is based on the play of the same name by Chicago Tribune reporter Maurine Dallas Watkins, who decided to turn her experiences with real-life Velmas and Roxies into a comedy.

The legendary Bob Fosse directed and choreographed the Original Production of the musical, opening on Broadway way back in 1975.

The show has enjoyed massive success over the last decade, thanks in no small part to the 2002 Academy Award winning film version and the Tony Award winning 1996 Broadway Revival - last seen in Australia in 1998.

This production, directed by Walter Bobbie, is unashamedly minimalist. Sure, there is a little sparkle here and there, but the story is told with few accessories. 

It is incredibly effective, and really goes to show the strength of clever direction combined with an outstanding cast.

Chicago’s success lies in its homage to the Vaudeville era. Each of Kander and Ebb’s magnificent songs are shown as distinct vaudevillian acts – such as the ventriloquism in They Both Reached For The Gun, the stand-up of Roxie and the clowning in Mister Cellophane.

Chicago cleverly mixes elements of non-naturalism with the trademarks of a classic Broadway musical... and it also features one the most exciting casts this year.

Caroline O’Connor is the ultimate Velma Kelly. From her first appearance in the amazing All That Jazz, Connor owned the audience's attention, and never gave it back.

It is easy to see why she has been chosen to play the role on Australian, West End and Broadway stages – Connor had impeccable characterisation, effortless movement and a rich, gutsy voice. 

It is a performance not to be missed.

Sharon Millerchip is a joy to watch in her Helpmann award winning performance as Roxie Hart. Pocket rocket Millerchip was endearing and energetic. Roxie was a show highlight with perfect comic timing, and she danced the cheeky choreography well.

Billy Flynn (Craig McLachlan) was slick and sleazy. McLachlan has a great voice and presence, and interacted especially well with Roxie and Mary Sunshine.

Another enjoyable performance came from Gina Riley as Matron “Mama” Morton. I have always found Mama a bit two-dimensional, so I was both surprised and pleased to find moments of humanity, especially in the ‘rope’ trick. Riley sounded fantastic in When You’re Good to Mama, it was a shame she was a little underused with her fixed position downstage.

The lead cast was rounded out by Damien Bermingham as Roxie’s loveable and downtrodden husband Amos, and D.C Harlock as Mary Sunshine, the reporter with rose coloured glasses. Both gave great performances.

Chicago features possibly the hardest working ensemble in Melbourne. The tight ensemble were rarely offstage, some playing multiple characters and managing most of the scene changes. When they weren’t executing Fosse moves, they joined us as ‘audience’ providing commentary to the main action.

Ensemble highlights included All That Jazz, Razzle Dazzle and a sexy Cell Block Tango.

Special mention must go to Steven Grace as Ensemble/ Me and My Baby specialty, Caroline Kaspar as the “not-guilty” Hunyak and to Ryan Stuart who had me in stitches playing The Jury in the fantastic trial scene.

Bobbie’s vision was also evident in all areas of design. John Lee Beatty’s minimal black scenic design was complemented well by William Ivey Long’s sexy costume design. All the pieces gave a new meaning to ‘stage blacks’, with plenty of lingerie, lace, and legs!

Musical Director and Conductor Vanessa Scammell’s onstage orchestra were sublime, with an authentic jazz and big band sound. It was great to see the characters interacting with the orchestra, and Scammell delivered some narration herself.

Another trademark of Chicago is the distinctive choreography of Bob Fosse, recreated in this production by his protégé, Ann Reinking.

Every detail of the show has Fosse’s signature all over it, with a fusion of jazz and burlesque movement. Show opener All That Jazz really set the Fosse standard for the evening, with Velma and ensemble moving in sensual unison. 

All I Care About was both glamorous and striptease thanks to pink peacock feather fans! There was plenty of applause during Hot Honey Rag, featuring some of the best choreography in the show.

Melbourne audiences will be spoilt by this production.

Don't miss out on this amazing show: sexy dancing, a killer score and a world-class cast... Now, that’s Chicago.

"Chicago : The Musical"

Music : John Kander
Lyrics : Fred Ebb
Book : Fred Ebb and Bob Fosse
Original Production Directed and Choreographed : Bob Fosse
Director : Walter Bobbie
Musical Directior : Vanessa Scammell

Opening Night Thursday 20th August, 2009 at Her Majesty’s Theatre, Melbourne

More Information: www.chicagothemusical.com.au