Feature: An Interview with Velma and Roxie from the Stratford Festival Production of CHICAGO

After a fully cancelled 2020 season and an out-door-under-a-tent 2021 season, the main stages at the Stratford Festival have finally seen some action this year. Over at the Festival Theatre, the Donna Feore choreographed and directed production of CHICAGO is a huge hit! Two major reasons for this are the phenomenal performances by the two leads. BWW had the opportunity to chat with Roxie and Velma themselves - Chelsea Preston and Jennifer Rider-Shaw, to find out what it has been like to finally do the show they had been waiting two years to mount.

BroadwayWorld: First of all, I know we are now deep into the season and you have been playing these roles for several months, but I was wondering if you could speak to what the first few performances were like after literally waiting years to finally do this show in front of an audience. Were there any particularly memorable moments that you think will stick with you?

Jennifer Rider-Shaw: I think the most emotional moment for me was actually our sitzprobe. When we rehearsed the first time around in 2020 we were shut down the day before our sitzprobe - the rehearsal hall was all set up for that rehearsal with the band, the instruments and music stands and sound equipment, and it sat like that from March 2020 until June 2021. So when we finally got to sitzprobe in 2022 it felt so good - everyone was emotional that day. It's such an incredible score, and we all waited so long to hear that opening trumpet line, it was really special. As for our first performances - well our first few previews were cancelled because several of us had Covid - we were all itching to put the show in front of an audience and when we finally did, the energy was astounding. There were definitely some tears from me during the bows.

Chelsea Preston: Absolutely! The first preview that we had was about 1500 people (which was the biggest audience I had ever performed to at the time). I just remember finishing "The Hot Honey Rag" for the first time, standing on-stage and waiting for the applause to end - feeling like that might never happen, it was one of the coolest experiences I've ever had. My eyes welled up with tears, we were finally doing it - after two years away from the show. I can't believe that we have gotten to experience that almost every day for the past 7 months.

BWW: I'm curious about each of your relationships with CHICAGO and with your roles. I have no doubt you were familiar with the show, but to what degree? Had you done the show before? Were these bucket list roles?

Jennifer: I have never done CHICAGO before - but I can't remember a time in my life when I didn't know it. I grew up as a competitive dancer and we used a few tunes from Chicago over the years, I sang this material in Kiwanis festivals, at theatre school... I saw it on Broadway the first time I went to New York, I went by myself and it was exceptional. As far as a 'bucket list' role goes, Velma was definitely on mine and playing her has absolutely been a career highlight for me.

Chelsea: I was in high school when the movie of Chicago came out and I was completely obsessed. It was also one of the first shows I performed in professionally. I played Mona, a.k.a. Lipschitz. Playing one of the main roles was always a dream of mine, and I cannot believe that I am finally getting to do it.

BWW: I can't think of another time the Festival put on a musical that was simultaneously running on Broadway. I actually recently saw the Broadway production again shortly before seeing your production and it really made me appreciate how your show is absolutely its own fresh and exciting take on the material. Was there a lot of discussion during rehearsals about how this production was going to be different from the Broadway production? And in that same vein, a lot of people's entry point to this musical is the film - did that come up during rehearsals at all?

Jennifer: I haven't actually seen the movie - and now I'll wait until we close to watch it. We didn't reference the movie at all during our rehearsals as far as I can recall. Donna had a very clear vision of what she wanted to do with our version - and actually I believe one of the caveats to Stratford gaining the rights to Chicago was that our production could not be anything like the current Broadway version. Which was something we all welcomed - the Broadway version is fantastic, the original Fosse choreo is iconic, everybody knows it... but that doesn't mean that's the only way to do this show. I also love that our production has this bold, colourful design - it revels in the opulence and grandeur of the 1920's whereas the design on the Broadway production is very sleek and minimal.

Chelsea: Our production leans heavily into the vaudeville roots of the show. I did a lot of research on Vaudeville during rehearsals. I love the fact that burlesque and vaudeville were so intertwined, it definitely inspired me with a lot of my choices for Roxie. There is also a huge emphasis that these characters are based on real people. I had so much fun researching Beulah Annan, the real Roxie Hart. There is so much information about her out there because of the sensationalist journalism that sprang up in the 1920's. Beaulah and Belva (Roxie & Velma) changed American law - after those two - they realized they needed female jurors in court. It's also noted that Beulah Annan listened to the foxtrot record "Hula Lou" for hours after she killed her lover, I listen to the Sophie Tucker version everyday before I go on stage.

BWW: Chelsea, this is your first season at the Stratford Festival. I would love to hear about this experience for you. Had you spent a lot of time in Stratford before? Was the Festival a place where you had wanted to work? Were you familiar with a lot of company members prior to the start of rehearsals? How has the overall experience been?

Chelsea: I'm originally from Vancouver Island, so I didn't grow up coming to this festival. I always remember hearing stories about how incredible the Stratford Festival was when starting to work as a professional. I moved to Ontario with the hopes of working at the festival one day. I was lucky enough to get to perform CHICAGO with Robert Markus and Breanna Willis 10 years ago, it was so wonderful to have some familiar faces entering rehearsals. Jen was also incredibly kind and met up for coffee before we started the process and she helped to show me the ropes. It's been such an interesting experience. I think one of my favourite parts is getting to meet some of the young people that come to see the show. It's so many peoples' first time seeing live theatre and to get to be a part of that is a thrilling experience. I've gotten so many wonderful notes from people, especially young, non-binary people, saying how much it means to them to see someone like them on stage.

BWW: And Jen, you are now a bona fide Stratford Festival Veteran! You have played such a delightfully varied assortment of roles here over the years. Do you ever find yourself flashing back to moments from earlier in your career? Do you have moments where you almost feel your own history on that stage?

Jennifer: I feel so lucky and so grateful to have had such varied opportunities at the festival. Every so often I'll notice an old prop label or something that has been left from seasons past and it always takes me back... for a few years there was a sticker down in the stage left vom on the wall that said 'cream suitcase, J Rider-Shaw', from 42nd Street and it was for my entrance into the scene before Lullaby of Broadway - it would always take me back to that moment (especially the time I fell up the stairs and the suitcase took out two of the footlights!)

BWW: I wanted to chat with you both about the dynamic between Velma and Roxie. It's interesting because you are in perfect synch for the fabulous 'Hot Honey Rag' number, but for most of the show, each of your characters is on their own separate, albeit intersecting journey and you are very much playing adversaries. That duality requires a unique kind of chemistry between the two of you - which you absolutely nail! I was curious about how you developed that. Was that something you talked about at all? Did it happen naturally through rehearsal?

Jennifer: It was absolutely something we talked about in rehearsal! We walk a fine line throughout the play as to who is on top in which moment, and what each character needs from the other. Chelsea and I haven't worked together before Chicago but we had an ease in communication from the beginning - we were able to speak freely about the scene work, and felt really comfortable asking each other questions and trying new things.

Chelsea: I think we always had that chemistry. I think a lot it comes from our real lives, Jen being a seasoned pro at the Stratford Festival and myself being a newcomer, it lends itself to the dynamics of our characters really well.

BWW: Do you feel like that dynamic has evolved in interesting ways over the course of the season?

Jennifer: Yes, that dynamic definitely evolves over the season, I think it gets more and more specific with each performance - and there are more subtleties that begin to appear within the writing, so it's always growing and deepening.

Chelsea: I think the more we've gotten to do the show, the more fun we have, the more we can play and find new moments to give each other an extra little smile during "The Hot Honey Rag". I am very grateful to have such a kind, strong and dedicated partner in crime.

BWW: Jen, there are two specific moments that I just need to ask you about. I realize this is kind of "spoilery", but now that we are nearing the end of the season, maybe it's ok to talk about them? First of all, we need to talk about your entrance. IS THAT THE COOLEST THING EVER? When did you learn that you would be making one of the most iconic entrances in the history of the Festival Theatre?

Jennifer: Best entrance I've ever had. It was going to be completely different in 2020 - the entire prologue of the show was different, and I did not fly in... it was in January of this year that Donna gave me a call and asked how I felt about heights... I immediately said I wanted to do it because I knew it would be so cool.

BWW: Is it almost meditative to be able to be up in the rafters taking in the mumble of the crowd before a show? Did it take some getting used to?

Jennifer: Is it meditative up there? No, it's the most nerve wracking part of the show for me. Not because of the height, but because I no longer get the camaraderie of waiting backstage with the rest of the company to start the show. I miss that energetic buzz, I miss the ritual... because of this (super cool, I wouldn't have it any other way) entrance I don't get to see anybody, I have to be up there quite early. I head back long before places is called to do a hang test (where we check that my harness is on properly) backstage, then hike up to the cupcake (so named for its resemblance to a cupcake liner!) - then it's just me alone with my thoughts as I pace on the catwalk up there. Then the cell phone announcement goes and I get into the swing to start the show. The moment that I really love is just as I first get lowered in, while the prologue is still going, and I can see the entire audience but they haven't seen me yet - that moment is very cool.

BWW: Secondly, I would love to hear about the "I Can't Do it Alone" number. It is so much fun, you are so good, and I would just love to know the process of creating that number with Donna.

Jennifer: "Can't Do It Alone" is so much fun, it's a great number because it can be tailored to any actor playing that part - which is exactly what we did... we just kept coming up with more and more ridiculous ideas and testing them out. It started with a framework from Donna (which included the tossing of the props from voms, the weight, the tricycle, the tumbling pass)... and then we just kept adding and adding, we wanted the cane and hat as a nod to vaudeville, I added the juggling and the high note at the end - it's just classic musical theatre silliness and it's so much fun to do.

BWW: Chelsea, I would similarly love it if you could tell us about "We Both Reached for the Gun." You and Dan Chameroy are so great in that number. How was that rehearsal process? Do you ever worry you're going to accidentally start singing?

Chelsea: Donna gave us a lot of freedom in "We Both Reach for the Gun". Dan and I worked together, figuring out what worked best for our bodies and also what packed the most punch story-wise. We had a lot of fun playing. Luckily I haven't been worried about singing the song for Dan. I think about it like the best "Lip-synch For Your Life" that I can muster every time.

BWW: I also need to address the way you say the word "kimono" in the courtroom scene. It is iconic and it will forever be etched into my brain. There isn't really a question there - I just needed to make that known.

Chelsea: Hehehe, thank you! It was inspired by my dear friend Kelly Holiff from when we performed in Grease together.

BWW: Lastly, do you have a favourite moment from the show (a song, a scene, something unexpected that happened during a particular performance, etc)?

Chelsea: Oh boy, that's a hard question - can I pick two or three? I love getting to do my Roxie monologue. It's so fun listening to the audience and playing with them. It feels like Roxie is doing her stand-up comedy routine. Getting to listen to the audience and seeing what that group of people needs that day is one of my favourites. Spoiler Alert: Giving my newspaper to the audience member, I love seeing people's reactions. And then, nothing will ever beat doing "The Hot Honey Rag" with Jen every day, walking out onto that stage and hearing that iconic music, it makes me giddy every time - it will never get old!

BWW: Thank you both for taking the time to answer these questions and for your fabulous performances this season!

Chelsea: My absolute pleasure! Thank you for your fun questions and kind words about the show!

CHICAGO continues in Repertory at the Festival Theatre until October 30th.

Photo Credit: David Hou

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