REVIEW
Chicago
Thames Music and Drama
Walking into the Thames Civic Centre on Chicago’s opening night, one could be forgiven for thinking they had been transported to a 1920s speakeasy. The Thames Music and Drama production, directed by Asha Peppiat, was an immersive experience which began right at the auditorium doors.
A shadowy corridor lined with wanted posters and newspaper headlines led the way to the seating area, where a spectacular two-level set stretched out in front of the audience. The orchestra was nestled between twin staircases facing the audience, sequestered behind a row of jail bars – an innovative use of the space and visually appealing, while also giving the audience a chance to appreciate the musicians directly.
As the soft jazz music gave way to the wah-wah tones of a solo trumpet, we caught our first glimpse of Velma Kelly, the ruthless murderess. The role was beautifully played by Emily Bisset, and was easily the standout performance of the night. Her Velma stalked around the stage like a tiger on the prowl, and true to her character’s former career as a showgirl, she always ensured all eyes were drawn to her.
Countering Velma’s sultry moves was Roxie Hart, the cheating wife with aspirations of showbiz. Mel Connors’ Roxie was wide-eyed and naive, but she allowed her rougher working-class edges to show through, adding plenty of depth to the role. Her acting and dance moves were spot-on.
Also spot-on was Stuart Floan’s portrayal of the hotshot lawyer, Billy Flynn. Stuart stepped away from the flamboyant movie version of Billy, leaning instead into a gritty, jaded grifter. His understated acting in the musical numbers served to highlight perfectly the farcical nature of the courtroom trials.
Not to be forgotten, ironically, was the perfectly pathetic Amos Hart, Roxie’s downtrodden husband. Ewan Grant-Mackie had the ‘sad clown’ act down pat, and his pleas for attention brought an audible ‘aww’ from the audience as he exited the stage at the end of the show. Ewan’s rendition of Mr Cellophane was excellent, with his strong singing voice a perfect counterpoint to the meekness of the character.
The show was rounded out by a large and enthusiastic chorus, who filled the stage with ambitious dance moves inspired by the iconic choreographer Bob Fosse. Their presence as reporters brought the showstopping “We both reached for the gun” musical number to life, drinking in Roxie’s fabricated sob story as Billy Flynn carefully controlled the narrative. The singing could have been stronger at times, but the dancing and visual spectacle of the show was superb.
Special mention must also be made of the six merry murderesses, whose confessional number was excellent; and Mama Morton (played by Erin Wigley) and Velma’s jaded duet “Class”.
Overall, Chicago was a great night out – scandalous, camp, over-the-top, and just plain fun.
Chicago runs from May 17-25 at the Thames Civic Centre.
