Chicago

IF ONE WERE to describe this musical’s place in the history of musical theatre, then it would have to be defined as “the quintessential Bob Fosse musical”, because that is precisely what it is.

It would be a very brave director who would deviate from Fosse’s vision for what he originally described as a “musical vaudeville” back in 1975 when it premiered on Broadway. Since Fosse’s untimely death in 1987 (aged just 60) the musical has evolved into something that probably does not resemble his original production, but has instead been refined into what we have come to know as “the Fosse style.”

This is the springboard from which to launch any production of Chicago, and being true to Fosse is the yardstick by which all productions are measured. Fosse was “creative, inspired, driven, strong-willed, tireless and ruthless”, and he developed what has been described as an “an uncompromising modern style – characterized by finger-snapping, tilted bowler hats, net stockings, splayed gloved fingers, turned-in knees and toes, and shoulder rolls”. This is what we expect.

That is precisely what co-directors Kylie Ball and (first time director) Jeremiah Pau have delivered in this hugely entertaining production true to the Fosse legacy. A Fosse devotee herself, Ball - who also choreographed the production - is largely responsible for bringing this style to life, characterised by intense, disciplined and committed ensemble work, which Ball has created here.

The original play from which Chicago is adapted first appeared on Broadway in 1926. It was based on journalist Maurine Dallas Watkins’ own reporting of actual Chicago homicide cases committed by women, where it became accepted lore that feminine or attractive women could not be convicted. A silent film was produced by Cecil B.de Mille in 1927, and remade in 1942 as Roxie Hart with Ginger Rogers in the title role. Fosse bought the rights to the play after Watkins’ death in 1969 and six years later the musical vaudeville reached the stage to enormous acclaim.

It took a further 27 years for the film to be made, winning the Best Film Academy Award in 2002 becoming the first musical in 34 years since Oliver! (1968) to win the top honour. Since then, the musical has rarely been off the professional and non-professional circuits.

This has to be about the fifth staging I have seen of Chicago, and I have to say it is right up there with the best.  Pau and Ball have collaborated on a production which is not only stylish in concept and execution. The set, lighting design, costuming and even the program design was an exercise in style and as well as an affectionate and authentic tribute to Fosse – no mean feat in itself.

A simple, uncomplicated set, the band was situated above the action on a platform high above the action at the rear of the stage in front of a cut-out skyline of Chicago city.  David Campbell’s lighting design was both creative and effective while the enormous costume team faithfully produced the “Chicago look” (in black) that has come to embody most stage productions since Ann Reinking headlined the 1996 Broadway revival.

While the challenge for the directors is to remain true to the Fosse style, the main challenge for the production lies in the effective casting of the two lead women’s roles – Roxie Hart and Velma Kelly.

And anyone seeing this production is under no illusion that “the name on everybody’s lips is gonna be … Roxie”. This must surely not only be the biggest challenge that Mikka Ewens has faced in her Townsville musical theatre career thus far, but it also without doubt the best thing she has ever done. Hers is a gutsy, magnetic and supremely watchable performance and I found my eyes constantly being drawn to her in every scene she appeared.

In keeping with what has become tradition in musical theatre where actresses have played both Roxie Hart and Velma Kelly, Michelle Higgins now stepped into the latter role after playing Roxie in the 2002 NQOMT production. A stalwart of Townsville musical theatre, this would have represented an enormous challenge on so many levels, and all her musical numbers were outstanding, from “All That Jazz” to the duet “Class”. Velma Kelly is a much harsher character than Hart and requires a physical intensity and grit that the Hart does not. Think Tina Turner!

D’Arcy Mullamphy made a welcome return to the stage as the smooth-talking lawyer Billy Flynn, with two outstanding performances from Anamari Goicoechea as a butch Mama Morton (her “When You’re Good to Mama” was a joy) and a scene-stealing contribution from Andrew Mair as the hapless Amos Hart (his “Mister Cellophane” a delight).

One of the highlights of the production was of course the “Cell Block Tango”, performed by the “six merry murderesses”, and Ball’s choreography of this complex number was more than commendable. Along with Higgins, Katie Grice, Melissa Land, Laura McLean, Jarrah Scarsi and Tina Seiferling all contributed equally to a sexy, stunning showstopper.

The jazz demands of this John Kander’s wonderful score must present a nightly challenge to even the most seasoned musician, but once again musical director Mark Smith was tested and passed with flying colours.

A truly enjoyable production, made all the more special by the fact that this is by now – thanks to the success of the film - not only familiar territory but also by the fact that this is outstanding, quality entertainment.

Just one minor niggle – a last encore number please – so we can all demonstrate our appreciation for what will be a major hit for NQOMT, with more than 65% of tickets before opening night.     

Trevor Keeling

Photography by Sapphire Soul Photography