Review: CHICAGO at Adelaide Festival Theatre, Adelaide Festival Centre

Reviewed by Barry Lenny, Thursday 8th August 2024.

Another production of that very popular, multi-award-winning musical, Chicago, has reached Adelaide, and it opened to a full house of very enthusiastic theatregoers. The musical, which is based on a 1926 play by Maurine Dallas Watkins, takes us back a century to the Roaring Twenties, the era of greater sexual freedom, gangsters, prohibition, flappers, and jazz. She was a journalist and her play is based on real crimes on which she reported in her work. The book is by Fred Ebb and Bob Fosse, with music by Ebb, original direction and choreography by Fosse, and lyrics by John Kander. It had its premiere in 1975, and this Broadway revival, directed by Walter Bobbie, is from 1996.

A former vaudeville star, now past her peak, Velma Kelly, opens the show with All That Jazz, and we then meet a chorus girl who wants to be a star, Roxie Hart, who has killed her lover, Fred Casely, because he wanted to end their affair. She convinced her husband, Amos, that Casely was a burglar, and he agreed to take the blame, until he learned the truth and she was arrested and sent to the women’s block of Cook County Jail. Velma Kelly is there, too, but she claims to have blacked out at the sight of her husband and her sister in bed and so pleads not guilty to killing them. Six women, including Velma, tell their stories in Cell Block Tango, recounting the crimes that put them there, crimes for which each of them feels perfectly justified because “they had it coming”.

‘Mama’ Morton is the corrupt Matron of the cellblock, always ready to be bribed by the inmates. Velma has bribed her in order to be promoted as the top murderer of the week, resulting in plenty of media coverage, with Mama also being her agent for her return to Vaudeville. Velma is not happy at Roxie’s arrival, taking the focus away from her, and also taking on her lawyer, the unscrupulous Billy Flynn. He convinces the columnist, Mary Sunshine, that his reworked version of events is true and that Roxie is innocent, turning her into a celebrity. The rivalry between Roxie and Velma is a central theme for the remainder of the show as they vie for the attention of Billy Flynn and the attention of the media.

The musical is packed with catchy numbers, each of the three major and three minor lead characters having ample opportunity to shine, and chances for members of the ensemble, too. It begins with Zoë Ventoura, as Velma Kelly, setting the mood of the show with a marvellous rendition of All That Jazz, before crossing to Lucy Maunder, as Roxie Hart, making fun of her husband, Amos, in Funny Honey. Ventoura and Maunder create powerful characters, strong, self-centred, ambitious women, each with her own agenda. The conflict between the two makes for some terrific interchanges.

Ventoura shows bitterness, frustration, and desperation as Velma sees her plans dashed, while Maunder’s Roxie relishes her successes. A versatile performer, Maunder’s manipulative and cynical Roxie Hart is a far cry from Mrs Banks, the role that we saw her play recently in Mary Poppins.

Peter Rowsthorn is a joy as the simple-minded nonentity, Amos Hart, conveying his character’s naivety, and delivering the poignant number, Mr. Cellophane, to enormous applause. Amos Hart, of course, is the only decent person in the entire musical, but nice guys finish last, and he ends up alone.

Anthony Warlow, one of Australia’s most popular performers, brings vast experience to the role of flim-flam man, Billy Flynn, playing off Velma and Roxie against one another, and conspiring with ‘Mama’ Morton, while deluding Mary Sunshine. He is gives a smooth approach to his cynical number, All I Care About is Love, and Razzle Dazzle tells you all that you need to know about his modus operandi. Warlow was a terrific choice for the role.

Asabi Goodman dominates the stage as Matron 'Mama' Morton, growling her low notes and singing up a storm in When You’re Good to Mama. Goodman makes it clear that Mama is not somebody to cross.

S. Valeri is great fun as Mary Sunshine, playing on the emotions of her readers to gain sympathy for the women about whom she writes. She delivers her number, A Little Bit of Good, superbly. If you don’t already know, you’ll discover during the performance why only the initial S is given. It’s a tradition.

There was great work from the ensemble, both vocally and in the precise execution of the dance numbers, as well as in occasional individual characterisations. There is boundless energy in the dance routines. The number, Tap Dance, ironically though, involves no tap dancing.

Tony Walton’s 1975 Art Deco set placed the band on a balcony, above and to the rear of the stage, with a curving staircase to either side. John Lee Beatty’s 1996 set introduced the band-in-a-box, a large structure with tiered seating, taking up a considerable area centre stage, with entrances down either side from the rear in which members of the ensemble sit, and a lift in the middle. To my mind, this made some of the choreography in the small space remaining in front of this structure occasionally seem rather cramped. It also prevented the use of any larger set pieces, restricting it to small items of furniture, and the ladders on either side that swung in and out on hinges.

This reduced stage area, of course, is what necessitated Ann Reinking’s new choreography, devised in the style of Bob Fosse, and new direction by Walter Bobbie. These were re-created in Australia by Gary Chryst, choreography, and Tânia Nardini, direction. Ken Billington’s lighting is a lot busier than one might think, with myriad small changes causing subtle progressions. William Ivey Long’s all-black costumes are suitably brief and sexy, appropriate for a Burlesque musical.

The production has plenty of razzle-dazzle, and all that jazz, eliciting a standing ovation from the opening night audience that is sure to be repeated every night. Don’t delay if you plan to see this production, book now.

Photography, Jeff Busby.

 

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