CHICAGO

    and All that JAZZ

 The musical Chicago promises Razzamatazz, Jazz, and High Drama – and it delivers. Adapted  from the play by Maurine Dallas Watkins in 1975 it has proved a winner ever since, even if it is showing its age just little. The 1996 Broadway production was the longest running American musical in Broadway history and it has continued through revivals to tour to many places, including the Festival Theatre in Adelaide right now.

Each musical number, composed by John Kander was modelled on a traditional vaudeville number or performer of the time firmly setting the musical in the jazz age the 1920s. The story line is also based on true events, and among all the glitz and glamour there is a strong undercurrent of the contrast between justice, show business, venality and contemporary society, from which we can still draw lessons

The show opens with a sassy jazz number by a set of dancers who never put a foot wrong throughout the entire show and Velma Kelly (Zoë Ventoura) singing and dancing  ‘All That Jazz’.

At a price,Velma has established, with the help of Matron Mama Mortone (Asabi Goodman) the top spot in the prison and a glittering future, after  her trial when she will be found ‘not guilty’ All these plans evaporate with the arrival of Roxy Hart (Lucy Maunder) who steals the limelight, the publicity  and career  prospects of success after she, as expected,  will be acquitted, with the help of lawyer Billy Flynn (Anthony Warlow). The duel between Velma and Roxy gives both women the chance to show themselves to to be consummate actors, singers and dancers. Like two warring cats the spite and insults flow between them, while they sing and dance as though there is no tomorrow. 

Billy Flynn, urbane, ever so slightly swarmy and always self-contained, is played with authority and ease by Anthony Warlow. He stalks the stage like a lion in control of a troublesome pride.  Mama Morton, sugar coated venom, mesmerises with her powerful voice.

The only sympathetic character in this sorry story is Amos Hart (Peter Rowsthorn) Roxy’s hapless husband, who deems himself ‘Mister Cellophane’ and wins over the audience, with his goofy smile and naivety.

The Swings and the Ensemble dance with sparkle, variety and frightening flexibility. Reading through their bios it is obvious that each one has a load of talent, training and experience. They are a very important part of the production. 

The orchestra, mostly brass and reed as befits jazz is augmented by a violin, double bass, banjo, ukulele and percussion. Directed by Anthony Barnhill, the musicians are more than a support, but a major feature of the show. Nor should I fail to mention Mary Sunshine (S.Valeri) whose amazing voice reached notes, usually only found by coloratura sopranos) 

Crossroads Live, Jones Theatrical Group associated with Barry and Fran Weissler have joined to bring Chicago to Adelaide. It is playing at Festival Theatre until 31 August. A shame to miss this chance to chase away winter blues and world crises.

Photo: Jeff Busby