Chicago the Musical

You’ve seen the Hollywood film, now Chicago the Musical – in all its razzle dazzle – has come to Melbourne. The Kander & Ebb musical has been seen by over 31 million people worldwide and continues to play on Broadway and around the world as the longest running American musical in Broadway and West End history.

Chicago is the story of Roxie Hart, a housewife and nightclub dancer who murders her lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media, her husband, and her rival cellmate, Velma Kelly, by hiring slick criminal lawyer Billy Flynn to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.

Milk Bar was invited to attend the opening performance for one jazzy night of entertainment. Melbourne’s Arts Centre is the ideal setting to bring the decadence of 1920s Chicago to life. The State Theatre’s stage was set with a 13-piece orchestra – an unusual back drop, but one that lent to the intimate atmosphere and vibrant sound. They even had a cameo appearance within the show. Armed with only a one-time viewing of the film adaptation, this writer didn’t have huge expectations – I much preferred the likes of Moulin Rouge! (also coming to Melbourne-town soon).

Act 1 saw us introduced to the incredibly talented Alinta Chidzey in the role of the vivacious Velma Kelly. This woman can sing! Chidzey is a powerhouse with all the sexy grit needed to portray the likes of Velma Kelly. Her opening number is the show’s best-known song ‘All that Jazz’ – even non-musical lovers will know this one – and it is a showstopper that perfectly sets up the mood for the rest of the production.

Next up is the selfish, wannabe starlet Roxie Hart, played by Natalie Bassingthwaighte. While Nat Bass manages to adequately capture Roxie’s obnoxious character (and also makes an excellent ventriloquist’s dummy), her voice was underwhelming, most notable in her solo number ‘Roxie’ which dragged and lacked dimension. In part due to the exceptional talent around her, she simply fails to shine in comparison.

One of those talents is Casey Donovan playing Matron “Mama” Morton. I haven’t paid much attention to Donovan since her Idol days, but this is my mistake! She wows the audience with her tremendous voice and stage presence, injecting plenty of nuance and comedy into ‘When You’re Good to Mama’ and ‘Class’. Where Bassingthwaighte should probably stick to radio and festivals, Donovan killed it on stage and I can’t wait to see where she lands next.

Jason Donovan is billed as the big star in this production. He is a good fit for Billy Flynn, the smarmy lawyer who knows how to play the media game, and certainly has the stage cred behind him. However, I found his singing to be … meh. Again, just not outstanding in any way.

Act 2 opens with a solo performance from the on-stage orchestra, which was an utterly charming welcome back from intermission. Honourable mentions go to musical theatre stalwart Rodney Dobson as Roxie’s long-suffering husband and the ensemble member who played the bit part of Roxie’s lover – his comedic timing was impeccable and roused a lot of laughs. The biggest highlight was ‘Cell Block Tango’ for sure, and will be the number you end up searching for on Spotify.

Playing now until 23 February, Chicago is a raucous jaunt of vaudevillian entertainment. It is a crowd-pleaser and a fantastic night out for a broad audience. To miss it would be a crime.

Chicago the Musical
Arts Centre Melbourne, State Theatre, 100 St Kilda Road
Till Sunday, 23 February 2020
chicagothemusical.com.au/tickets/melbourne