Chicago @ Festival Theatre, Adelaide 8/8/2024
The old Razzle Dazzle has shimmied to the Adelaide Festival Theatre in all its glitz and glamour.
Broadway’s longest-running musical, Chicago, opened in Tarntanya/ Adelaide with the regale one would expect. The current rendering of the Tony Award-winning production, originally created by John Kander and Fred Ebb with choreography by Ann Reinking in the style of Bob Fosse, celebrated the 1920s, jazz, scandal, and the pursuit of fame. From the moment the curtain rose, it was evident the production embraced the essence of the original while adding its own unique flair.
Chicago is a satire on exploitation in criminal justice administration and the notion of celebrity criminals. Based on the true story of Beulah Annan and Belva Gaertner, two women tried and acquitted of murder in 1924, it communicates the story of murderesses Velma Kelly (Zoë Ventoura), Roxie Hart (Lucy Maunder) and their sensationalist game-show host-esque lawyer, Billy Flynn (Anthony Warlow).
Under the skilful direction of Tania Nardini, the show maintained a pointed, satirical edge reflective of the darkly comedic nature of the source material. The story is particularly apt considering the current celebrity-obsessed, media-flooded world.
Set designer John Lee Beatty has exemplified the ‘less is more’ approach by opting for simplicity over extravagance. Placing the orchestra, helmed by Anthony Barnhill (Musical Director), at centre stage in a tiered formation was unexpected as much as it was effective. The condensed stage design highlighted the musicians, integral to a musical set in the Jazz Age, while simultaneously focusing on the cast thrust down and side stage. Despite having an always-full stage, it remained balanced.
The production was aesthetically pleasing with a colour palette of black, blacker, hints of white, and a splash of silver. William Ivey Long has created provocative costuming that captured an inherent lustfulness. When married with Fosse’s choreography (re-created by Gary Chryst), it was a match made in heaven.
The musical numbers were nothing short of spectacular. The ensemble’s energy was palpable, making each routine a highlight. From Cell Block Tango, which introduced us to the inmates of County Cook Jail, to classics All That Jazz and Razzle Dazzle and everything in between, it was a delicious spectacle of choreographic genius.
The cast delivered performances that were both dynamic and memorable. Veteran performer, the iconic Warlow exuded charisma and charm in his portrayal of Flynn. He brought a wicked sense of humour to the role, even during Flynn’s smarmy moments, including All I Care About is Love. Surrounded by the girls and plumes of ostrich feathers, the affectation of his sentiment was gleeful to witness.
Peter Rowsthorn was a delight and a highlight. Portraying Amos Hart, the loveable yet dim-witted husband of Roxie, Rowsthorn offered a blend of earnest charm and comedic nuance that stood out. He brought an understated but refreshing depth to Amos and created a character to empathise with and laugh at. Mister Cellophane was a touching and subtly humorous number. Its delivery was heartfelt and melancholy, highlighting Rowsthorn’s impressive vocal range.
Recently seen in Hairspray, Asabi Goodman shined as ‘Mama’ Morton, the prison matron with a knack for leveraging her position. Her rendition of When You’re Good to Mama showcased vocal prowess and a strong stage presence. She masterfully conveyed Mama’s pragmatism and warmth, making her a memorable figure.
S. Valeri delivered an unforgettable performance as Mary Sunshine, the earnest and somewhat gullible reporter. With a delightful blend of appeal and over-the-top flair, Valeri captured Mary Sunshine’s naiveté and enthusiasm while contributing a touch of whimsy.
Ventoura and Maunder’s performances were noteworthy.
Ventoura delivered a powerhouse performance as Velma, the sultry, self-assured nightclub singer. With a commanding stage presence, she showcased her talents across multiple numbers while representing the character’s fierce independence and raw energy. While Maunder captured Roxie’s cunning and desire for fame in a vibrant performance. She is believable as Roxie transformed from an aspiring actress to a media sensation, balancing the character’s simplicity with a comedic edge.
The pair’s chemistry was undeniable. It added an extra layer of intrigue to the narrative, making for compelling interactions.
Chicago offered an exhilarating and polished theatrical experience. With its steaming jazz and ruthless killers highlighting the duplicity of the roaring 1920s, this production is bound to captivate and entertain with its blend of satire, song, dance, and sparkling allure.
Theatre Review By Anita Kertes