"Murder, Greed, Corruption, Violence, Exploitation, Adultery and Treachery ... all those things we hold near and dear to our hearts" Intriguing isn't it? Wanna know more? Well it's the opening line of 'Chicago: The Musical' playing at the Adeplhi Theatre on The Strand. And, boy, are you in for a killer night out.
Written in the early 1970's by John Kander (music) and Fred Ebb (lyrics), who are incidently the duo behind 'Cabaret', this is an amazing piece of theatre. It is the story of Roxie Hart's trial for the murder of her lover and her attempts to be aquitted. She vies with Velma Kelly, current darling of the press, for media attention; employs the best lawyer who "doesn't want to boast but if Jesus Christ had been born in Chicago and if he's had $5000, things mighta turned out differently"; and allong the way she dances and sings her way to ... well ... I won't spoil the ending for you. Suffice to say the show finishes in STYLE!
In case you haven't heard of Bob Fosse, I'll fill you in before I gon on as this is as much an homage to the Legendary Genius as it is a great production in it's own right. Fosse was a Broadway Choreographer/Director who created a style so distinctive, so electric and so sexy that even today it is instantly recognisable. Under his supervision the Broadway musical explored darker and more controversial themes than ever before. It is this style that Ann Reinking, production choreographer; Fosse protege and one time lover, re-creates so brilliantly here.
Don't get me wrong, this isn't just a recreation, a carbon copy production. Reinking has taken Fosse's style; his technique and re-invented it for a modern audience. The dancers move sinuously across the stage, sometimes achieving moves you wouldn't believe were possible; sometimes the same breathtaking effect is accomplished by moving a finger or rolling a shoulder in perfect unison. Whether it is six girls justifying murder or Roxie's "boys" fulfilling her fantasy this is by far the most seductive, and indeed the most innovative choreography on the West End stage at the moment. It has to be seen to be believed!
Such choreography fits perfectly with the score. Of course, that is as it should be but all too often this just doesn't happen. The songs of Kander and Ebb are truly distinctive. A jazz style that evokes the night world which the characters inhabit. From the beginning of the show with Velma Kelly singing that she wants to "paint the town" in 'All That Jazz' (this also gives the actress, in my opinion, the best entrance in showbiz: she appears from the middle of the orchestra) through to the final numbers 'Hot Honey Rag' the music never dips below par and is always melodic and eloquent; with every number pushing the plot along while simultaneously stopping the show.
Perhaps one of the reasons this show wasn't a runaway hit back in 1975, and was left to be rediscovered amongst a list of 'forgotten musicals', is that it is cynical. Not one of the most common traits in the Broadway Musical. The show portrays the American Justice Stystem as another branch of showbusiness; indeed there is one number in Act II in which Lawyer Billy Flynn conforst a worried Roxie just before her trial with "Give 'em the old razzle dazzle ... how can they see with sequins in their eyes?". But now the time is right. In the USA court cases are televised, look at the O.J. Simpson trial or the media attention of Louise Woodward. The message in this show could weell be seen to be the media manipulates justice and crime elevates the media. What does the truth matter? The one moment of 'truth' in the production belongs to Hunyak and the first time I saw the show it brought tears to my eyes.
As for the set, well, there isn't one. It's basically just a black stage with a few chairs for the cast and the orchestra stand. Yep, they're onstage as well. They're not side-lined as they usually are in musicals For this show they're as much a part of the action as the characters are; in fact they have their own collective character. The band-stand is edged in gold; the centre is used extensively for entrances and exits and from this vantage point the MD dances, interacts with the actors and introduces musical numbers. The Entr'Acte isa particular highlight with choreographed trumpets.
The costumes are like the set, barely there. Fishnet stockings abound,as do the basques, if it's possible for such minimal articles of clothing to abound. Of course they're all black too, and very sexy. The male dancers wear velvet, and lycra trousers and not a great deal else. The lighting compliments the rest of the visuals. It's not incredibly fancy and yet it's quite stunning, utilising a lot of spotlights. The red is particularly effective in creating the atmosphere that is so unique to this show.
I've seen 'Chicago' several times now, but only with two casts and sadly not the current one. I don't think this matters too much as the show isn't a star vehicle, it will stand-up on its own and an actor would not be cast if they were less than ideal, whether they are famous or not. My first visit was when I saw two german stars taking the leads; Fredericke Haas and Anna Montanaro, both accomplished performers, if lacking a little warmth, and the show was wonderful.
The next times were to see Broadway Legend Chita Rivera as Roxie this will remain in my memory for the rest of my life. It was what musical theatre should be: funny, exciting, entertaining and exhilarating. I could was lyrical about Chita for hours but I that wouldn't be very helpful so I'll stop now. As for the current Roxie, it's Denise Van Outen and I hear she's marvellous. So much so that the American producers, Fran and Barry Wiessler, are whisking her off to Broadway justas soon as her contract exppires in mid September. And she must be brilliant, as for all the various English casts that the show has had this hasn't happened since the original cast of Ruthie Henshall and Ute Lemper! Catch Denise while you still can.
If you can't get to London, or can't afford it as theatre tickets are quite expensive in the West End, then I would definitely recommend that you listen to the CD. It'll give a flavour of the show and you'll hear some great stars. I have 3 recordings, (yes, I know I'm obsessed. LOL) I think the London cast is the best; Ruthie and Ute's voices work well together and apart from a few dodgy accent moments I feel that it captures the atmosphere of the show the best. That said the 1975 recording has Chita! And the Broadway Revival cast is equally stunning, and has a slower pace. But I digress.
Although great, a CD really is not substitute for seeing such an electric show live. There's a tour starting this Spetember too so if it comes near you go, I certainly will be. Whoever is in the cast, London or Tour, you'll see a show that is beautifully conceived, that appeals to the senses, is funny and also relevant. A musical vaudeville of talent that will leave you breathless and also humming.
"May I have my exit music please"!