Review by Markus Hamence – Performance date: Thursday 8 August 2024 (Opening Night), Adelaide Festival Centre, South Australia
Oh Adelaide, you’re in for a freakin; treat with this show. Chicago The Musical has arrived, and it would be a CRIME to miss it! If you have a penchant for dazzling performances, sultry jazz, and all that razzle-dazzle, then Chicago the Musical at the Adelaide Festival Centre is an absolute must-see. As a life-time lover of musical theatre, this musical is a stand-out always, and THIS 2024 production by John Frost for Crossroads is nothing short of spectacular.
A Classic
Chicago the Musical is a ageless classic that has engaged and captivated audiences worldwide since its debut in 1975. Set in the roaring twenties, the story revolves around two murderesses, Roxie Hart and Velma Kelly, who find themselves on death row together. They compete for the media spotlight, the attention of their slick lawyer, Billy Flynn, and ultimately, their freedom. The musical is known for its sizzling choreography by Bob Fosse, catchy tunes by John Kander and Fred Ebb, and a storyline that brilliantly satirizes the corruption and celebrity culture of the Jazz Age. There’s sex, there’s crime, there’s murder, there’s lies AND the media circus. Shall we get deeper my friends…
Stellar Performances
This Australian production does not disappoint. The cast brought the characters to life with insane energy and precision. The moment the curtain rose, the audience was zapped friskly into a smoky, jazz-filled nightclub, with the ensemble delivering the iconic opening number, ‘All That Jazz’, with electrifying enthusiasm. It wasn’t just good, it was thrillingly GREAT – our hectic days were left behind immediately (and that can be a feat).
The cast are world-class, in-fact, the world should envy what Australia offers in this department.
Roxie Hart, portrayed by Lucie Maunder, was a tour de force. Maunder’s performance was both comedic and dramatic, capturing Roxie’s naive ambition and cunning manipulativeness with ease. Her rendition of ‘Roxie’ was a show-stopper, filled with dazzling wit and re-fined style.
Velma Kelly, played by Zoë Ventoura, was equally impressive. Ventoura’s powerful voice and commanding presence made Velma’s numbers, particularly ‘I Can’t Do It Alone’ and ‘When Velma Takes the Stand’, unforgettable. Her chemistry with Maunder was palpable, making their on-stage rivalry all the more engaging.
But the big stars, kept coming…
Anthony Warlow as Billy Flynn was the epitome of suave. His smooth vocals and charismatic portrayal of the slick lawyer were highlights of the evening. Warlow’s performance of ‘All I Care About’ and ‘Razzle Dazzle’ had the audience in the palm of his hand. This Australian Music Icon is still very much in control AND he’s theatrically dynamic, as always.
Peter Rowsthorn brings a delightful blend of charm and comedic flair to his role as the awkward, down-troden and invisible Amos Hart. Known for his impeccable timing and endearing stage presence, Rowsthorn (Our Kath & Kim icon) portrays Amos – the overlooked, yet earnest husband – with a heartfelt vulnerability that resonates deeply with the audience. His rendition of Mister Cellophane’ (complete with attention grabbing whte gloves) is both sad and humorous, capturing the essence of a man who feels invisible in a world obsessed with fame. Rowsthorn’s performance adds a refreshing layer of sincerity to the production, making Amos Hart a character to root for in a show brimming with bold personalities. The versatility of this actors in inspiring to many. Side note: His chops aren’t that bad either!
Asabi Goodman delivers a powerhouse performance as Matron ‘Mama’ Morton in the adventure. With her commanding presence and rich, soulful voice, Goodman (Last seen in Adelaide for Hairspray The Musical) perfectly embodies the tough, yet charismatic prison matron who knows how to work the system to her advantage. Her moment with ‘When You’re Good to Mama’ is a standout moment, dripping with sass and confidence, showcasing her ability to blend humor and authority seamlessly. Goodman’s portrayal brings a fresh dynamism to the role, making Mama Morton not just a background figure, but a force to be reckoned with in the high-stakes world of Chicago. I LOVE Asabi – always awaiting her next show or performance. Queen!
Australian Theatre favourite S Valerie shines the light as Mary Sunshine in our story bringing a delightful mix of warmth and wit to the role of the seemingly naïve yet sharp journalist. Valerie’s portrayal captures the duality of Mary Sunshine with a captivating grace, especially during the number ‘A Little Bit of Good’, where their operatic vocals soar with purity and precision (she’s a killer song-bird). Their performance subtly hints at the character’s underlying cunning, making Mary Sunshine both endearing and unexpectedly clever. Valerie’s nuanced take on the role adds an intriguing layer to the production, ensuring Mary Sunshine leaves a memorable impact on the audience. Naturally, if it hadn’t been guessed a lot earlier on, he character come with an hilarious end reveal.
And for kicks, I need to mention the ensemble and swing: A vivacious mis of sensuality, sex, insane bodies, immaculate delivery and above all a VERY high acting & singing ability as they mince, seduct, swagger and swan across the stage… Hayden Baum, Devon Braithwaite, Olivia Carniato, Angelique Cassimatis, Louis Fontaine, Chaska Halliday, Sarah Heath, Ethan Jones, Savannah Lind, Kristina McNamara, Joe Meldrum, Tom New, Nathan Pinnell, Rania Potaka-Osborne, Emma Russell, Romina Villafranca and Zachary Webster. Top Of The Class to all.
Choreography and Music
The choreography, inspired by Bob Fosse’s original work, was executed flawlessly. The dancers moved with precision and grace, embodying the spirit of Fosse’s unique style. Each number was a visual feast, filled with sharp, angular movements and sultry, seductive steps. Again, their bodies! Argh!… I’m heading to the gym.
The live orchestra (of 15 I think), conducted by Anthony Barnhill, brought the music of ‘Chicago’ to life with gusto and classic respect. The jazz-infused score sounded as fresh and exciting as ever, perfectly complementing the action on stage.
The orchestra are perched dead bang in the middle of the stage, and, as a backdrop to the stage. The orchestra stands are constructed in a way that sees the actors emerge and disappear from various doors or hidden access in the construction that makes the orchestra part of and at one with the show. Great fusion.
Set and Costume Design
The set design (John Lee Beatty) was minimalist yet effective, with a stark black-and-white color scheme that allowed the performers to shine. The use of lighting (Ken Billington) was particularly striking, creating dramatic shadows and enhancing the overall mood of the show.
The costumes, designed by William Ivey Long, were quintessentially ‘Chicago’. The flapper dresses, fishnet stockings, and sharp suits captured the essence of the 1920s while adding a touch of modern flair. Each costume change was a visual delight, adding to the overall spectacle of the performance.
A Night to Remember
In conclusion, ‘Chicago the Musical’ at the Adelaide Festival Centre is a masterpiece, giving much respect to the 70’s classic. The combination of stellar performances, stunning choreography, and timeless music makes for an unforgettable theatre experience. Whether you’re a die-hard fan of musical theatre or a newcomer to the genre, this production is sure to leave you tapping your feet and humming the tunes long after the final curtain call. BRAVO!
Get your tickets – IT WOULD BE A CRIME to miss it!
Chicago The Musical runs until 31 August 2024
Grab your tickets here!
