‘Chicago’ vaudeville

Press, 9 March 1987, Page 8

‘Chicago’ vaudeville

“Chicago: A Musical Vaudeville,” by Fred Ebb, Bob Fosse and John Kander, based on the play by Maurine Dallas Watkins, presented by the Christchurch Operatic Society, with direction by Robert Young and musical direction by Thomas Brown, at the Theatre Royal, March 7 to 21, 8 p.m. to 10.40 p.m. Reviewed by Philip Norman.

Spitting hellfire from his pulpit, the Rev. D. A. Beavan once described it as “a combination of nervousness, lawlessness, primitive and savage animalism and lasciviousness.” Jazz, Chicago-style, was the subject of his searing definition. Fifty years on, his description seems tailored to fit the all-that-jazz routines of “Chicago: A Musical Vaudeville.” For absolute accuracy, though, the words “tunefulness” and "wicked humour” would need to be added. The Christchurch Operatic Society gave an excellent account of the tinsel-tipped bawdiness that is at the heart of this musical. Working on a razzle-dazzle set with glittering costumes washed by a striking light-

ing design, the cast maintained a raw, compelling energy throughout. The storyline of “Chicago” is so flimsy that it scarcely passes for a plot. The account of the fortunes of Roxie Hart, aspiring actress, one-time murderess and rampant adultress, is merely an excuse for an evening of vibrant song and dance entertainment. The success of the show is entirely dependent on the foot and mouth agility of the performers. In this respect, the Christchurch Operatic Society was fortunate to be able to field such a strong all-round team of players. Janice Bateman gave a dynamic portrayal of Roxie Hart. Her engaging personality, well modulated singing voice, and gutsy acting provided a strong lead for others to follow.

David Chambers, as Roxie’s lawyer, Billy Flynn, offered an appealing, commendably consistent portrayal. He moved well, spoke clearly, and sang in a voice that dripped of soft-shoe-shuffle rhythms. Maureen Baker (Velma Kelly), though not always secure with her singing line, gave a spectacular

choreographic account of her role. Her lithe, comic movements in “I can’t do it alone” were astounding for their unfaltering direction and stamina.

Nickie Wellbourn gave a powerhouse performance as the butch Matron, while Peter Edginton brought buckets full of soul to his “Mr Cellophone Man.” Mary Sunshine was acted with keen comic timing by the mysterious Emilee, and Jonathan Densem gave a crisp, lively portrayal of Fred Casely.

The chorus line moved at all times with vitality and surprising ensemble precision. They also sang lustily with high spirits and a pleasing degree of finesse. Under the baton of Thomas Brown, the 12piece band set forth some tidy jazz articulations and generally clean accompaniments.

The lion’s share of the credit for the success of this production, however, must go to its director, Robert Young. His imaginative choreography, eye-catching use of colour, and vigorous stage business helped sustain both a cracking pace and an atmosphere of theatrical glamour.