The Bury Met Theatre played host this evening to the latest offering from PADOS [Prestwich Amateur Dramatic And Operatic Society], with what is a very popular choice at the moment for many amateur societies, the evergreen show, Chicago, which delivers hit after superb hit in a story which, almost unbelievably, is actually based on reality.
It is the 1920s and we are in Chicago, Illionois [What state is Chicago in? - Ill. Get it?!] It is a time when 'murder is an art' and the state hasn't convicted a female in 47 years, and so, with a good lawyer, some well-placed publicity, and a good sob-story, women were more or less assured of being saved the death penalty. That is until the state DOES hang one - and one that proclaims her innocence right until the end - and that's when things start getting more jittery for the female prison inmates.
Musical masters Kander and Ebb capitalised on this storyline, and, along with Bob Fosse, who collaborated on the story and choreographed the original show, Chicago has become an absolute favourite on both sides of the Atlantic, having been in continual production somewhere on the globe since it opened on Broadway in June 1975!
I have been lucky enough to see three productions of Chicago so far this year, with many more under my belt already, even having had the good fortune to play the small part of Aaron and on-stage Swing in the show myself in the days when I was pursuing an acting career. It is a show I 'hold dear to my heart'. This evening PADOS's production was very good indeed, staying very close to the original concept in all areas.
First, the design. The set was simple but impressive. A high walkway had been created at the rear of the stage with a set of stairs descending from either side. A circular podium centre stage and the letters CHICAGO in bright lights high above. It certainly wasn't original in its design, but the company wasn't striving for originality in this show. Everything was done as a reverend homage to Messrs Kander, Ebb and Fosse. The costumes were black, sleek and sexy, the music was authentic, and the difficult choreography deftly executed in the style of Bob Fosse. Such a shame that the stairs couldn't have been more secure, they were very wobbly and caused concern from cast members having to use them on several occasions. I would also have appreciated a few more small items of costume or props to make it clearer for the audience. A policeman's helmet perhaps for the policeman at the beginning with Amos; notebooks, cameras, trench coats perhaps for the reporters; a gun for Roxie at the start; etc. I didn't quite understand why SOME characters were given small items of costume / props [the judge, the jury, etc] and some were forced to mime or allow the audience to make assumptions. There was a lack of consistency here which jarred for me.
However, none of that really mattered when your focus was being pulled all the time on some stunning lead performances. Katherine Reynolds gave a superbly measured performance as Velma Kelly going from 'cock of the clink' to a scared and brushed-aside murderess through despair and finally back to being on top again. A real tour-de-force characterisation and I loved every second of it. No less a talented actress, Izzi Feld, played Roxie Hart, the lady around whom the whole story revolves, and her character changes and fickle relationships no less impressive, and her on-stage chemistry with Reynolds was lovely. Vocally both Reynolds and Feld were superb, but for me, I felt that just some of Feld's pieces of dialogue didn't quite fall the way they should, losing the joke, or not allowing the punch to land properly.
I think first night nerves might have hit Simon Fletcher a little, since he stumbled and missed a few lines, but his characterisation of lawyer Billy Flynn was solid, lovely and he really understood the role and was very pleasing to watch. Matron 'Mama' Morton was played by Alison Foy-Thackwell, and she looked and sounded absolutely perfect. I think though she needed to find out why she was who she was and what she was doing it for. Her motivation is not just the money she makes from her inmates, and her sexual desires this evening seemed to be placed on the wrong gender!
One of the problems in casting this show is the role of Mary Sunshine. She is a sob-sister; a matronly lady reporter who, as the moniker suggests, is a real sucker for a sob story. The role should be played by a man and sung falsetto, as there is a "reveal" towards the end of act two where the wig is pulled off to show the audience 'she' is a man. There were two stumbling blocks with this this evening. First, he is in the programme photographed and named as a 'he' thus spoiling any enjoyment a newcomer to this show might have had. Second, Krissy Friday who played Mary Sunshine was most definitely a modern day drag act - something that wouldn't be out of place on Manchester's Canal Street, and once again, missing the characterisation and idea behind the role. Friday was good and entertaining in what he did, but for me seemed out of place in this show most unfortunately.
However, I have left the best until last. Amos Hart is a role I would kill for, and I have seen thousands of actors take on this role. This evening Timothy Platt came as close as anyone ever has to my ideal image of this character. Every nuance, every glance, every syllable, perfectly placed. 'Mr. Cellophane' was magical. I was in awe!
5 'Cell Block Girls' [the other prison inmates] and further ameliorated by an all-singing all-dancing chorus, completed the casting for this show. The Cell Block girls were superb, and Hunyak's Hungarian even sounded authentic which was a real bonus. I loved the 'elastic' prison bars on wheels - a really nice touch which worked superbly.
PADOS have won several awards in the past for their shows, and watching this evening's Chicago it is very easy to see why. Their attention to detail, their striving for perfection, and their obvious talents are abundant, I can't think of any reason why this show shouldn't scoop another accolade to add to the collection! A hugely enjoyable show of which all involved should feel immensely proud. The show runs at The Met until Saturday.
Reviewer - Matthew Dougall
on - 10/4/19
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