Chicago

One of Kander and Ebb’s most well known musicals is Chicago. Based on a play of the same name, the story of two misguided women on trial for murder is based on real-life murderesses, both tried in court and acquitted in 1924. Reporting on these homicide cases for the Chicago Tribune was journalist Maurine Dallas Watkins. Intrigued by these women, Watkins transformed her newspaper columns to pen the play in 1926 – its musical counterpart opening on Broadway almost 50 years later in 1975.

The movie version of the musical released in 2002 (starring Renee Zellweger, Catherine Zeta-Jones, and Richard Gere) inspired revival shows on the professional theatre circuit. Just recently the show rights have become available again for non-professional theatre companies and it’s no surprise that NOVA Music Theatre jumped at the chance to stage the musical. And what an offering! Provocative, fiendish, and sassy – NOVA’s rendition ticks all the right boxes.

Director Noel Browne has gathered a team of key players, who have undoubtedly done their homework and worked solidly to provide a slick and engaging production.

Firstly Browne and Choreographer/Assistant Director Wayne Robinson have teamed up to design and construct a simple, yet striking multi-level set with two movable staircases. The back stage crew must be commended for having the awkward task of moving those staircases at regular intervals and predominantly while the action was continuing elsewhere on stage. To counteract potential distractions, the crew dressed as prison guards that allowed them to blend in with the cast.

The set came to life with superb lighting effects by designers Michael Zagarn and Jason Bovaird, who joined forces to create the right ambience for each scene. Costume design by Stephanie Lumb was impressive right down to the last ensemble member and sound design by Steve Hobbins was mostly trouble-free with the appropriate balance between cast and orchestra.

Musical Director John Clancy has obviously worked the cast and orchestra hard, which has produced a strong musical level all round, while Robinson’s choreography was evocative and beautiful and, on the whole, executed well by the cast.

With such a high standard in production values, NOVA needed a cast to match. Enter Di Crough as Velma Kelly. From the moment she appeared on stage ready to belt out “All That Jazz” right through to the finale, Crough mastered the triple-threat requirements of the role with ease. Stunning to watch and listen to, Crough was irrefutably a standout performer.

Waiting in the wings was Maree Barnett as Roxie Hart. Her portrayal of the naïve but fast-learning killer was exquisite, giving the character much needed light and shade. Elegant in all her physical work, Barnett gave Roxie all the glamour required to attract media attention and her vocal work was solid, which cemented her, too, as an exceptional performer.

Mark Monroe took on both these ladies as defense lawyer Billy Flynn. His characterization was strong and commanding and he executed his dance moves with flair. In a contrasting role, Leigh Roncon was every bit the pathetic, insipid Amos Hart needed to reflect the sentiments expressed in “Mister Cellophane."

Rounding out the supporting roles were Emma Halpin, who portrayed a soft and sympathetic Mary Sunshine complete with a sweet soprano voice; Craig Dewar who kept the story flowing well as the Announcer; and Anne Dewar as Matron “Mama” Morton. Anne’s best work was her interaction with her ‘favourite’ jailbirds, including the duet “Class” with Crough.

Last but not least, the ensemble was fantastic. Constantly focused, they complimented the main actors at all times. “We Both Reached for the Gun” was a wonderful combination of Barnett and Monroe’s 'puppetry' skills alongside the instantaneous reactions from the ensemble. “Cell Block Tango” was an absolute highlight featuring superb choreography throughout the storytelling moments.

Director Noel Browne should be congratulated for presenting such a strong piece of theatre. Well done to all involved.

Chicago is playing at the Whitehorse Centre in Nunawading until 21 May.

Julia has been an on-stage performer for many years and has also undertaken roles in vocal training and Musical Direction. Julia made her debut as a Director in 2006 tackling shows such as Urinetown, City of Angels, Guys and Dolls, I Love You You're Perfect Now Change, Songs for a New World and a number of variety shows. She won a Lyrebird Award for Best Director for The Witches of Eastwick and her variety show A PEP Perspective won a Guild Award for Best Concert. Julia has a professional background in media, journalism, marketing and events management. She is currently President of the Lyrebird Awards Committee.