I have now seen 7 different productions of this musical in as many months, and this evening's was without doubt the most vital to date.
Director Kirk Jameson wanted to do something a little different. Tired of seeing countless 'carbon copies' of the Bob Fosse choreography and all black set with flahing lights and all the girls in sexy black lingerie, his production with The Arden Theatre's 3rd year Musical Theatre students instead took the idea of the inmates of this prison (Cook County Jail) performing the show themselves. As we walked into the auditorium a large banner was announcing just that, which was further reinforced by prison style bunk-beds on the stage and the cast lounging about in prison fatigue; which in this case was dark blue dungarees / boiler suits. I liked this idea very much and it would have worked so well if carried through the whole show. However, sadly, that was where the idea stopped. Perhaps if we'd have seen the ushers wearing prison gueard uniforms and them forming a line between us and the performers on stage at the start and then again at the interval to do the same, and after the bows they came on a final time only this time dressed the inmates in leg shackles and handcuffs before escorting off stage, we would have had a real sense that this was indeed the prisoners performing. What didn't work for me with Jameson's idea was that Cook County Jail is a female prison, and so, where did the male characters come from? The police officer at the beginning and Aaron in the second act were both female, as were Roxy Hart's "boys"; and indeed, the role of Mary Sunshine, traditionally played by a man was given to an actress here [most wisely omitting the short scene at the end of the court in which Billy Flynn dewigs him]. However, Fred Casely, Billy Flynn and Amos Hart were all played by men. It was a very interesting idea, but it wasn't followed to its ultimate conclusion sadly.
Undoubtedly this year is bursting with talent, and so it is very hard to know where to start and who to praise first! The interprestations and characteristions were excellent to a man, and although some were maybe not quite what I personally think the role required is purely a subjective choice and it would be unfair to criticise on those grounds. Let me instead focus on those performers who impressed me the most with their talent. Chloe Hall is one superb power-house of virtuosity and her tour-de-force performance of Velma Kelly literally blew me away. I simply can't wait until I see her starring in the West End [and if she doesn't I want to know why!] Everything about her highly nuanced characterisation was focused and believable. Katie Buttner as Roxy Hart was no less a highly proficient and talented actress and showed real understanding of and enagegment with her character, but she certainly had her work cut out trying to keep up with Hall - although in all honesty, keep up she did, and their duets together were a joy.
The Cell Block girls were all well chosen and talented., although the two girls in the bunk-bed on Stage Right during the Cell Block Tango had for me, a slight edge.. a little snappier or cruder perhaps in their attitudes. And I really enjoyed the plaintive and misunderstanding persona of Hunyak, excellently thought-through by Abigail Jones, whose Hungarian sounded completely authentic, congratulations.
Will Winsor's Billy Flynn was suitably egocentric and narcissistic and I absolutely loved the choreography for Razzle Dazzle! Hayley Moss's Mary Sunshine was pitched just right, a '20s sob sister, and her voice had quite a range! There was a point in 'Little Bit Of Good' where I had to double check my programme to make sure it was a female as the voice descended into a very male range here and it was quite astounding! The whole cast of 26 worked so very well together and their energy and proficiency carried this show. Directed with a Brechtian approach, with cast on the sightlines watching the action and minimal props and costumes, the pace was kept light and tight, although I would have preferred a couple of cameras / notebooks / etc for the reporters, and a gun. [mimed several times].
The choreography, by Bonny Dinsdale and Elizabeth Hayward was outstanding. Taking some inspiration from Bob Fosse and what has gone before, but turned it into something unique and special. The only thing which didn't work for me [sorry, but this is subjective] was 'Mr. Cellophane'. But otherwise it was interesting and perfectly executed.
A 13-piece live band conducted by Musical Director Robert Purvis was set at the rear of the stage and they sounded simply delightful throughout. Encapsulating superbly the sounds of the era and the genres with ease, with even a little Big Band in there too as the soloists stood for the entr'acte.
A hugely enjoyable production and one of which all involved should feel immensely proud. The first Musical I was fortunate enough to review for The Arden was Fame, way back in 2015, and I still remember that with fondness. I am sure that I will be doing just the same with Chicago in years to come! I honestly do not know why people pay upwards of £50 to go to The Palace Theatre or The Opera House etc, when for a fraction of that cost they can watch new up-coming talent at the very start of their careers, in a show which, despite the difference in budget, is just as professional and just as thrilling and entertaining. Full of 'razzle dazzle' and lots of 'class'!
Reviewer - Matthew Dougall
on - 24/5/19
No comments:
Post a Comment