The cast of Chicago at the Oldham Coliseum
Chicago continues at the Coliseum Theatre, Oldham until 12 October.
“Give ’em the old razzle dazzle, razzle dazzle ’em. Give ’em an act with lots of flash in it, and the reaction will be passionate.”
And that is exactly what Kevin Shaw’s new actor/musician production of Chicago does at the Oldham Coliseum. This is the first professional staging of Kander and Ebb’s musical that has been allowed since the show closed recently in the West End – the next will be at the Curve, Leicester over Christmas.
Shaw has vividly brought vaudeville back into this murderous musical, where femme fatales struggle to become top dog and public ‘celebrity’ in one of Chicago’s most illustrious female prisons. His concept has a firm narrative drive, and the now ever popular actor/musician format fits the vision perfectly, with the cast all playing multiple instruments and roles. This is an ensemble of not just triple threats but quadruple threats.
Towering over the cast, Marianne Benedict as the murderous variety performer Velma Kelly is sensational. A powerhouse vocally, her musical numbers are only just contained in the intimacy of the Coliseum auditorium. Indeed this is a portrayal of seduction and desire which quite possibly results in the performance of her already illustrious career. She is ably matched by Helen Power as new girl on the block Roxie Hart. While her stature may be considerably smaller than her co-star, her presence and performance is equally as strong.
Adam C Booth as smooth talking lawyer Billy Flynn gives bags of charm and charisma, while Shirley Darroch, as the matriarchal Mama Morton, brings the house down with her rendition of ‘When You’re Good to Mama’. And the whole cast is rounded off by an enthusiastically energetic ensemble (a delight to see that recognised with only whole company bows at the curtain call).
Foxton’s colourful design concept brings a level of texture and glamour to proceedings. From the Art Deco gold backdrop to the scintillating costumes, this is Chicago like you have never seen it before, and musical director John Morton (who also makes several cameos from behind the piano) makes sure the score soars.
With this revival Shaw has brought the West End firmly to the regions, and at less than half the price, which sets a high benchmark for future productions at this extremely welcoming theatre. Thanks to high production values and incredible performances, I hope it’s not too long before there is another well-known musical given this kind of treatment at the Coliseum.
Kevin Byrnes
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