Review by Lisa Lanzi
If you compare it to the likes of Wicked, Mary Poppins, or West Side Story, Chicago is a more pared back ‘concert approach’ to the musical form - this in no way a criticism, merely an observation. However, it is definitely a ‘dancer’s’ musical with its essential Bob Fosse style and elevated, exaggerated 1902s ambiance alongside stripped back staging and costuming that is more 21st century than period true - not that this matters a jot. There is also the unadulterated joy of thrilling ensemble choreography plus hearing so many brilliant songs accompanied by the onstage band who bolster both energy and excellence. In fact, the band are all proudly Adelaidean and really pack a punch. The Entr'acte fired up the energy for the second act and I would have been more than happy to jump up and dance with them.
Chicago is a classic, oft-repeated musical that has remained a favourite since it originally premiered in 1975 with an award-winning combination of John Kander’s music, lyrics and book by Fred Ebb, plus book, direction, and choreography by Bob Fosse. Jerry Orbach, Chita Rivera, and Gwen Verdon (Fosse’s spouse) were the adored leads at the time. In 1996, nine years after Fosse died, his muse and former lover Ann Reinking re-vamped the choreography as an eloquent and perfect ode to the Fosse catalogue and also starred alongside Bebe Neuwirth in a revival that set the tone for all subsequent productions. Centrally placed on stage band, simple-but-sexy costuming, sparse set, and fabulous dance routines.
So, no pressure Chicago Australia 2024! With luminous musical theatre stars in the leading female roles over so many years, including Australia’s Caroline O’Connor, you might understand if the current leads felt just a little awed by this opportunity. Fortunately, both Lucy Maunder and Zoë Ventoura more than hold their own in the demanding roles of Roxie Hart and Velma Kelly. Ventoura even bears a slight resemblance to Ann Reinking with her dark hair and long-legged stance. These two women bring the sizzle and the vamp with simply excellent portrayals of the two murderous, publicity-seeking vixens. In the early moments of the production I was a little underwhelmed by Ventoura’s voice, but it settled and improved after a time. Maunder, with her silky and glorious vocal tone, easily wins us over to Roxie’s cause.
Asabi Goodman brings Matron ‘Mama’ Morton to life with a strong voice and certainly enough sass to control the wild women in her cell block. Along with the rest of the audience I particularly enjoyed Goodman and Ventoura’s duet ‘Class’. Devon Braithwaite also merits a mention for his larger-than-life and very athletic Fred Casely character, Roxie Hart’s victim. Peter Rowsthorn delivers one of the best characterizations of Amos Hart (Roxie’s gormless husband) that I’ve ever witnessed: Comical with just the right touch of pathos, and the lovely addition of a sense of dignity parked beside a gentle acceptance of his path in life.
Undeniably, Anthony Warlow as Billy Flynn the calculating, money-hungry lawyer, was genius casting. On top of his constantly excellent vocals, Warlow’s presence was utterly compelling. He also imbues the character with a delightful combination of brash confidence, ‘shyster’ elements, and a certain nonchalance that belies the difficulty and complexity of the role. Every song was a standout from this artist and I would hazard a guess he is relishing this opportunity and that his enjoyment of the role adds much to his performance.
I’ve talked in other reviews about how GREAT our musical theatre supporting artists are here in Australia. In this production, the ensemble almost steal the show from the leads, so compelling is their energy, precision, commitment and the sense of pure joy that radiating from the stage. All the ensemble members are fabulous dancers who possess astounding technique. They are also accomplished singers and never drop the characterizations they embody on stage.
If you have never seen Chicago - this is the production you should make the effort to catch. If you have seen the musical before, this is a fine version to spend your hard-earned cash on, and visit again. I firmly believe everyone on this planet needs to experience ‘Cell Block Tango’ at least once, if not many more times.
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