"Every creative decision, from choreography to costuming, has been made with thoughfulness and intention. Our goal has never been to sensationalise, but to present a bold, stylised and age appropriate piece of theatre that encourages growth, confidence and artistic expression."
I witnessed this care and attention to detail talking with members of the creative team before the show. Especially about the costuming which looks fabulous without being inappropriate. I did chuckle a couple of times at some of the lyric changes, however, this didn't detract from my overall enjoyment of the production. If anything, it enhanced it. Some of you will faint, I know! ;-)
This tale contains a fabulous collection of Kander & Ebb songs presented with a sly wink and imbued with a touch of the indelible Fosse style. The performers, ranging from 15 to 21, are poised and focussed as they bring 1920s Chicago to life; a world of jazz and liquor where fame is only a gunshot and tabloid headline away.
Iconic opening number All That Jazz clearly laid director Blake Jenkins' cards on the table. Equal emphasis on movement, vocal excellence, and capturing the swagger of the era. A simple set on two levels with three sets of stairs and a single door at the rear; along with wooden chairs in the tight wings for the ensemble to observe and adorn themselves on. Set design by George Boyd.
Lighting design by Katharina Brieden plays with shadows and silhouettes whilst also spotlighting the feuding stars of the Cook County Jail as they vie for the attention of the media and notorious defence lawyer Billy Flynn (Jayden Adams). At times a little too much darkness for secondary characters on the periphery, however, the glitz and glamour shines through in big setpieces such as Roxie.
Choreography by Matilda Jenkins echoes the precise moves of the Fosse style before embracing some fun flourishes of its own, especially with Amos (Calum Blakemore) in Act Two. Costuming by Matilda Jenkins and Lyn Leeder carefully treads the line between honouring the flapper era for the girls and not being too revealing, while the guys look resplendent in the predominantly black outfits the show favours. Sound design by Gordon Smith does a nice job of balancing vocals with the backing tracks and Musical Director Christie McGarrity ensures the vocal quality across the board is good indeed.
I've already mentioned a couple of the male performers by name but, of course, Chicago is powered by a trio of female characters. Abigail Hill gives a full throated and feisty performance as the infamous Velma Kelly who is put out by the unexpected ascendancy of latest inmate Roxie Hart. Harriet Kenworthy initially plays Roxie with a disarming naivety that turns into something far more hard-edged as celebrity beckons. Hill and Kenworthy play well off each other; give interesting interpretations of wellknown songs; and sing beautifully together in first act closer My Own Best Friend and the plaintive Nowadays. Madelaine Batten is the other larger-than-life female character in the role of Matron "Mama" Morton. Batten is suitably bossy, plays up to the audience, and is an amiable presence throughout.
Which brings us back to Jayden Adams and Calum Blakemore. Adams makes for a suave Billy Flynn who charms and cajoles in equal measure in an assured performance. Blakemore garners much audience sympathy as sad sack Amos with his work in the second act particularly affecting. Both have a highlight moment at opposite ends of the spectrum - Adams gets to literally Razzle Dazzle; Blakemore tugs at the heartstrings with Mister Cellophane.
In the teen version, Mary Sunshine, usually a male in drag, is played by Eloise Andrew. That change does take away from the inherent flamboyance of the character yet Andrew handles the pliant report effectively. As does Matt Ballantine as the opportunistic Fred Casely and Adela Jung as the rambunctious Go-To-Hell Kitty.
Any highlight of Chicago has to include Cell Block Tango with its anthemic "He had it coming!" refrain. Props to Hope Shepherd, Kayla Brown, Leila Zaknich, Evangeline Scali, and Holly Zaknich as five of the "merry murderesses" along with Velma. Then there's the always fun We Both Reached For The Gun which sees the whole company shine.
Chicago is one of my favourite musicals and the movie version is a stunning adaptation. Watching the teen edition is a real pleasure. Yes, there are mandated limitations which means that if you know the full show it sometimes feels like it's pulling its punches. But to be honest, it's only a minor quibble when you see such a talented young cast on stage being so well supported by dedicated creatives from producers Katherine & Justin Freind on down.
A glimpse at the future as you enjoy one of the legendary shows of the past. Chicago is on at the Old Mill Theatre in South Perth until 19 July.
Photos by Outatime Pictures
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