The true story behind it Chicago is so fascinating that it still resonates a hundred years after the story took place. In 1924, Chicago was overrun by gangsters, Prohibition-era crime mixed with a smoky jazz background. In the “Murderers’ Prison” in Cook County, over a dozen women awaited sentencing. One woman, Kitty Malm, nicknamed “Wolf Woman” by the newspapers because of her appearance, suddenly received a life sentence. She was found guilty of the murder of a security guard on flimsy evidence.
A young reporter for the Chicago Tribune, Maurine Watkins was assigned the task of covering the trials of women accused of murder. Two women in particular caught her attention: Beulah Annan and Belva Gaertneur, both accused of murder in the heat of the moment. Both women were young, beautiful and charming. After both were acquitted, Watkins wrote a play about the two women. It was initially titled The brave little women before renaming ChicagoThis play later served as the basis for two films and then for the 1975 musical “Kander and Ebb”, which is performed today.
The action takes place in a nightclub in Chicago, Illinois, in 1926. The master of ceremonies announces: “Ladies and gentlemen, you are about to see a story about greed, corruption, violence, exploitation, adultery and betrayal… all the things that are dear to our hearts. Thank you… and welcome.”
A smoky, dark trumpet sets the scene. The orchestra is arranged vertically at the back of the stage, framed by a golden square arch. Suddenly the entire choir pours onto the stage and “All That Jazz” takes the audience into its world. No time for pretense as we watch the scantily clad black dancers writhe and perform in unison. It’s an uplifting insight into the feeling of that era, of decadence and extravagance.
Suddenly the stage empties. Two beautiful, scantily clad figures are involved in an argument. He wants out. She needs him. Shots are fired. He is dead.
This is how it starts Chicago. Cut to the bedroom where Sergeant Fogerty is interrogating Amos Hart (Roxie’s loving husband) who confesses to the murder out of loyalty. However, the truth comes out and Roxie is arrested for murder. She finds herself in the “murderers’ wing” run by Head Nurse “Mama” Morton and is surrounded by women in similar situations who all have sad stories of drunken revenge to tell. Velma (arrested for the murder of her sister and lover) is currently number one in the prison. The two immediately clash, vying for fame and notoriety. Cue self-centered lawyer Billy and you have all the ingredients for a fascinating story.
There are minimal set changes for the performance, the vertical arrangement 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 choir seated in the wings give a sense of space. The proximity of the podium keeps the action at the front of the stage, giving a real feeling of being very close to the action. Although the sound was particularly clear and powerful, I heard one elderly gentleman complain that the lack of surtitles in modern plays made it harder for him to follow the story. Likewise, there were very few costume changes during the two-act performance. In a way, the focus remains on the characters and the story rather than the costumes.
The casting itself was first class, with a charming yet sophisticated Zoe Ventoura in the style of Velma Kelly. In a story that highlights the press and public’s fascination with beautiful women, Lucy Maunder was equally as delicious as Roxie Hart. Zoë is probably best known for her role as Mel in Packed to the Rafters and with her TV and stage acting experience she was a pleasure to watch. Lucy also has extensive stage and TV experience and the chemistry between the two was palpable.
Roxie’s husband Amos was played sympathetically by Peter Rowsthornknown as the long suffering Brett from Kath and Kim. A loving husband, he realizes that he is like cellophane. You can see through him, walk past him and never know he is there. Roxie convinces him to fund her defense with $5,000 to hire Billy Flynn, played by a fabulous Anthony Warlow. He brings his opera experience from The Phantom of the Operahe embodies the role of the lawyer with verve and flair. Listening to his incredible vocal range is truly remarkable.
Asabi Goodman was equally delightful as superior and mother to the girls, while S. Valeri was hilarious as a doting, left-leaning do-gooder and journalist. “I’m willing to do a lot of favors. If you do one for Mama, she’ll do one for you.” So many quotable lines and inside jokes keep the audience on their toes. The choir was well coordinated, agile, sexy and kept the pace and energy up. It all seemed so effortless and simple, yet the complexity of the choreography is clearly well rehearsed.
While they thrived in the spotlight of fame, both women thrived only to feel its fickle nature. For a story that comes from a far-off time and place, the underlying observations still ring true. All involved in this production can be proud of what was accomplished. The dance moves honoring Bob Fosse were top-notch. The orchestra captured the sound of the era flawlessly. The simple set and lighting design was a work of art in itself. The show received a well-deserved standing ovation for the entire cast. An uplifting and entertaining evening. 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 August 8
Photos by Jeff Busby
ADELAIDE
Venue Festival Theatre
Season 4 – August 31
Bookings: chicagomusical.com.au or call 131 246 (groups of 8 or more call 08 8205 2220)
CANBERRA
Venue: Canberra Theatre Centre
Season 7 – September 29
Bookings chicagomusical.com.au or (02) 6275 2700
Another musical that goes on a national tour directly from Broadway is Sister Act. Danielle B., Genevieve Lemon And Rhonda Burchmore.
Later this year, the musical Jesus Christ Superstar by Tim Rice and Andrew Lloyd Webber will also go on tour.
