Chicago: The Musical is the sizzling-hot production we need to warm us up on these cold winter nights
Presented by: Adelaide Festival Centre
Reviewed: 8 August 2024
Chicago: The Musical has raised the temperature in the Festival Centre with one of the tightest and sexiest pieces of theatre to come to town. From the ballsy opening signature trumpet solo through to the final downbeat of the exit music, Chicago: The Musical reminded the opening night audience why it is still one of the most popular musicals since its first staging in 1975.
Chicago: The Musical is based on a 1926 play, written by reporter Maurine Watkins, (the real life Mary Sunshine), that satirises actual criminal cases from time. Set amidst the decadence of the 1920s, the musical is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer Billy Flynn to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.
It is the longest-running show currently playing on Broadway and was created by John Kander, Fred Ebb and choreographer Bob Fosse. First premiering in 1975, Chicago: The Musical featuring a scorching hot score and some of the slickest choreography around, it is no wonder this iconic musical has been honoured with six Tony Awards, two Olivier Awards and a Grammy.
This is ensemble theatre at its finest, with five sensational leads at the helm and a tight sizzling band guiding the cast through every number. The ensemble perfectly executed the Fosse-inspired choreography; It was sharp, tight and well drilled. It is a real treat to see choreography like this performed so well. Part of the magic of Chicago: The Musical is how every cast member is featured. Whilst the narrative is driven by the leads, Chicago: The Musical would be nothing without the ensemble. I would love to write about each and every member of this stunning ensemble, but we might be here all day. However, it would be remiss to not mention the incredible work of Adelaide’s own Joe Meldrum, whose character work in the courtroom scene is worth the ticket price alone.
As courtroom reporter Mary Sunshine, S. Valeri was impressive. Their vocal control is exceptional and for those not in the know, suspends the audience’s disbelief. They have found brilliant moments in the script to lift this character beyond how you sometimes see it performed.
Asabi Goodman’s brassy voice was a perfect match for the role of Matron ‘Mama’ Morton. In her first number, When You’re Good to Mama, Goodman let rip with sublime vocal work and oozed the sophistication ‘Mama’ needs. Goodman’s second act duet with Zoë Ventoura (Velma), Class, certainly was a crowd favourite and showed what a versatile performer Goodman is. I could sit and listen to her sing all day.
Peter Rowsthorn’s portrayal of Roxie Hart’s husband, Amos, is the beating heart of this production. Known mostly for his TV and screen work, it does come to some audience members’ surprise that Rowthorn has actually done extensive stage work in the past. His portrayal of Amos is one of the best this reviewer has seen. Playing it almost straight down the line, it has allowed Rowsthorn to hone in on the clever script to pull out some great comedy moments, without it feeling forced. The vaudeville approach to Mister Cellophane won the hearts of the audience. And what a voice, especially the vocal control at the end of Mister Cellophane.
Anthony Warlow’s years of stage experience are on display front and centre. As Billy Flynn, Warlow’s presence owns the Festival Theatre stage. He oozes poise and charm, but also brings out the rat-bag side of the role. Vocally, Warlow’s voice is made for this role. It has a depth and maturity that works well for the character. It is a real treat to see Warlow perform as part of this exquisite cast, and to be back in Adelaide once again.
In the lead roles of Velma Kelly and Roxie Hart, Zoë Ventoura and Lucy Maunder are exceptional. Each brings a wealth of experience to the show and each makes the roles their own. Ventoura sets the pace and tone of the show in the signature opening number, All That Jazz. Her voice packs a punch and she brings all the sophistication that Velma Kelly needs. Maunder plays the comedy side of Roxie Hart more than I have seen in other productions, and boy does this work. Vocally, Maunder is brilliant, showcasing a rich tone and highlighting what a brilliant performer she is. Ventoura and Maunder work perfectly opposite each other, and the big show-stopper ending of Nowadays/Hot Honey Rag (which features Bob Fosse’s original choreography) was sensational.
Musical director Anthony Barnhill and his band are nothing short of perfect. Traditionally placed on a multi-level, raked bandstand, the band is a central feature and focus point of Chicago: The Musical. They are tight and produce a wonderfully rich sound. It’s always wonderful when productions feature the band so integrally in a show, rather than having them tucked away in the pit or in an off-stage room. This only adds to the magical ensemble nature of the show.
One thing that has always impressed me with this musical is how much you can achieve by only the use of a few chairs and ladders. No fancy set, no massive scenery changes – everything is achieved by the cast and a series of well placed chairs and two ladders that swing in and out. Ken Billington’s lighting design is unobtrusive and perfectly captures the feel of the show. It’s not easy lighting a dark production that feeds off shadow and the hazy night-club feel of Chicago in 1924, but this lighting design is on point.
Only playing in Adelaide until 31 August, Chicago: The Musical is the sizzling-hot production we need to warm us up on these cold winter nights. The remaining performances here in Adelaide are selling fast, so don’t delay getting a ticket… it would be a crime to miss it.
Reviewed by Ben Stefanoff
Photo credit: Jeff Busby
Venue: Festival Theatre, Adelaide Festival Centre
Season: Until 31 August, 2024
Duration: 2 hours and 30 minutes (including one 20-minute interval)
Tickets: From $69.90
Bookings: chicagomusical.com.au
Read our interview with Anthony Warlow, playing Billy Flynn, HERE
Read our interview with Peter Rowsthorn, playing Amos Hart, HERE
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