Sydney Capital Theatre.
June 13, 2024.
chicago It opened at Sydney’s Capitol Theater this week to a standing ovation. The iconic musical, created by John Kander and Fred Ebb, returns to the stage this winter for a fantastic evening at the theatre. It was hailed as “the best stage satire ever written by an American” (WW O’Brien) at the time. chicago The largely true, slightly fictional story revolves around two women and their cellmates who capitalized on the sensationalism of the 1920s press and society’s fascination with the stories of these notorious female murderers. It’s structured in a cabaret style with a live jazz band on stage and big name acts that keep the audience on the edge of their seats wanting to join in on the sensational rhythms and intoxicating vocals.
The legendary Bob Fosse choreography that shapes this show is always a joy to watch. Fosse is known for his exacting standards and fastidious detail, and when executed well, his choreography of gestures and angles can give the viewer a gift that seems simple while being incredibly difficult for the dancer to unravel. Fosse’s penchant for perfectionism is legendary. The success of the cast is combined with the execution of a unique style. The lines aren’t perfect enough to work as part of a group number, and details are often lost and awkward. The images created should be so clear, but they often become blurry, cropped, and messy. The wonderful nature of the details in Fosse’s work is often overlooked. Unfortunately, there seemed to be no depth of understanding of detail throughout the performance. However, special mention deserves special mention from ensemble member Sarah Heath, who delivered an outstanding performance in terms of choreographic detail and embodiment of all things Fosse, no small feat for a professional debut . She exuded the sexiness of the ’70s, the era in which the show was born, and her movements were clear and precise.
The sheer talent of the cast makes this production relatable and fresh in many small moments throughout. Lucy Maunder’s Roxie Hart brings her own style to the role, being abrasive and sassy, playing a narcissistic attention-seeker in Tea. Mond was able to maintain the cutesy 1920s vibe while adding a modern twist to her image, highlighting today’s obsession with media and self-promotion. The emptiness of it all is reflected in Mond’s presence, brave voice and spot-on performance. Zoë Ventoura’s Velma Kelly brings gruffness, great facial agility, a lovely singing voice, comedic timing, but lacks the command of space the role requires. Her energy often fell off the edge of the stage and her choreography was average in execution. As a theater performer, Ventura has a diamond in the rough, and hopefully as the season goes on, she’ll shine and her portrayal of the character will become something special.
It’s a real treat to see Anthony Warlow on stage as Billy Flynn, effortlessly and charmingly playing the confident and cunning lawyer. His rat-pack demeanor is perfect for the character. Peter Rosthorn’s Amos Hart character, played by a generally dull and uninspired character, is a small gem in this production, with his Chaplin-inspired moves and intangible , the embodiment of the melancholic Pierrot-esque character is a highlight. He creates a character that is often bland but is entertaining. Asabi Goodman plays Nurse “Mama” Morton, and she has an incredible voice but lacks the stage presence that the character usually has, which detracts from her performance. .
The troupe boasts some strong talent, including emerging theater stars Angelique Casimatis, Hayden Baum, Devon Braithwaite, Olivia Caniato, Todd Dewberry, Louise Fontaine, Sarah Heath, Chaska Halliday, Matthew Janson, Ethan Jones, Tom New, Nathan Pinnell, Rania Poe Taka-Osborne, Priscilla Stavroux and Romina Villafranca especially exude Fosse vibes. Villafranca is brilliant and true to its era. Overall, the choir sounded strong and brought good energy to the show.
The costumes and sets are simple, influenced by the typical burlesque style of the 1920s, with hints of the 1970s. However, the band’s attire was not fashionable, just simple black people on stage, which made the atmosphere very bad. The entire show doesn’t necessarily require eye-catching costumes on stage, but some effort to blend in with the era won’t go astray.
comprehensive, chicago is a classic and will be a great night at the theater for audiences this season. Every aspiring musical theater performer should see this production, it’s a great show and has some great performances. This is a great example of a long-running show with a new cast. Wish the cast and team all the best chicago Australian tour 2024.
Author: Linda Badger Dance information.
