What does it take to get away with murder? In 1920s Chicago, it seems all you need is a good lawyer, and a good story to boot.
Based on Maurine Dallas Watkins’ 1926 play of the same name, Chicago follows the — quite literal — trials and tribulations of accused murderesses Velma Kelly (Zoë Ventoura) and Roxie Hart (Lucy Maunder) as they exploit their notoriety to be acquitted from their charges. Of course, the two women did commit the crimes they were arrested for, but with the silver-tongued and money-hungry lawyer Billy Flynn (Anthony Warlow) more or less on their side, the glimmer of freedom is well within reach.
Opening its Sydney leg on Thursday night, Chicago’s latest Australian national tour razzled and dazzled the stage across the show’s two and a half hour run time.
There was, of course, nothing inherently surprising about the production as a whole. Since its 1996 revival on Broadway, all productions of Chicago contain the same set, the same 14-piece band situated in the middle of the stage on mounted steps, and the same array of black, slinky costumes that leave little to the imagination. Considering that Chicago is also the longest-running American musical to grace Broadway, it’s evident that something about this set up works, bringing audiences back time after time.
Maunder shines as Roxie, oozing sex appeal and balancing the vulnerability and tenacious energy needed to pull off both the comedic and physically demanding aspects of the role. Ventura follows suit, assured and sultry in all the right ways, but does sometimes lapse in some of Velma’s more vocally demanding parts.
It was surprising to me, however, that the two not-so-leading men of the show managed to upstage Roxie and Velma in a show that is theirs to command. Warlow’s Flynn is sensational with his smooth baritone and impeccably tailored suit, especially in his main solo number All I Care About Is Love, containing a very entertaining dance sequence that sees a murderess entourage surrounding him with feather fans. Similarly, Peter Rowsthorn, most well-known for his comedic work (playing Brett in Kath & Kim) and not his singing dancing chops, steals the show as Amos, Roxie’s dowdy and gullible husband. The only character whose sympathy is well-earned, Rowsthorn’s poignant rendition of Mister Cellophane was a particular highlight.
The ensemble brought the vaudevillian aspects of the show together, shifting in and out of characters and executing choreography seamlessly. Those in supporting roles were also outstanding, with special mention to Asabi Goodman as Matron ‘Mama’ Morton whose powerhouse vocals especially shone in her flawless rendition of When You’re Good to Mama. Kudos also must go to the band, directed by Anthony Barnhill, who took centre stage and brought all that jazz while blending in perfectly with the action taking place around them.
While our leading women may not get away with murder quite so spectacularly as imagined, this tour of Chicago does put on one hell of a show.
Chicago plays at Capitol Theatre until June 28. Tickets can be found here.
