REVIEW
WITH dazzling dance, irresistibly catchy tunes, revealing
costumes and adult themes, Chicago makes murder seem like pure
entertainment.
The curtains open to the “Razzle Dazzle” of black, flesh,
lights and jail cells, accurately recreating the seedy prohibition-era feel of
1920s America.
Based on the play by Maurine Dallas Watkins, the story follows
charismatic murderers Velma Kelly (Talia Henderson) and Roxie Hart (Kate Ward)
who find themselves in jail and with newfound celebrity status.
Mama Morton
(Nikki Arnott) acts as warden/broker/publicist for the girls and makes good on a
soaring rendition of “When You’re Good to Mama”.
Supporting the flawless
vocals, the orchestra is ingeniously half-sunken into the stage, giving an
authentic feel of a live concert.
Billy Flynn (Nathan Burke) is great as the
jailbirds’ lawyer and deliciously duplicitous when declaring that “All I Care
About (Is Love)”, with dollar signs in his eyes.
After a fake pregnancy, an
execution and a press conference cum ventriloquy, the drama climaxes in an
all-american courtroom show trial. The hilarious interjections from a pious
‘Lady Justice’ (James O’Toole) almost steals the scene.
For a set almost
entirely coloured black, the themes are dark. Corruption, adultery and murder
are generously sprinkled throughout. But there’s still plenty of class.
Also
of note is the cast’s dialogue — consistently a pitch-perfect rendition of
Chicago speakeasy slang.
On opening night, Billy Flynn summed it up: “Give
’em a show that’s so splendiferous, row after row will grow vociferous.”
This
reviewer is struggling to find faults in this professional production. See
Chicago while it’s still hot.
