'Chicago' a dazzler
Jenny Sloman
Copied in full with the kind permission of the Gen Innes Examiner

Razzle...Naomi Bain, Graeme Quinn, Mark Curr, (front) Julia Fomiatti and Naomi Muckenschnabel are the main stars in the musical Chicago.

Song, dance , go-getting colourful characters, a stage set that is stunning and a story that is exotic, dramatic and enthralling and you have the Glen Innes Art's Council latest production "Chicago", a musical in the vaudeville tradition complete with its own Master of Ceremonies Richard Kiehne and based on the play "Chicago" by Maurine Dallas Watkins.

This is a show not to be missed. The Arts Council has a wonderful repertoire of musicals performed over the years that have delighted Glen Innes audiences and this Show is the equal of the best of them.

"Chicago" is a story based on the 1924 trials of two murderesses who were both found not guilty because of their clever lawyer.

These two girls, and others like them, are portrayed in the musical as tough ladies, predatory, manipulative, fighters and short on morality They are a reflection of the sleazy world of prohibition, bootleggers, and speakeasies - illegal bars- the world inhabited by criminals, thugs and "loose women" rampant at the time, a response to the end of the First World War.

Jazz was the music of choice and it flourished in these bars as well as in far more salubrious establishments frequented by the rich.

Velma Kelly, a jailed murderess, played by Julia Fomiatti performs her part with a passion rarely seen on the stage at Glen Innes. She is fully engaged with her character, connects with the audience as a true vaudeville actor should, and has a commanding presence on the stage. She moves and sings with great energy and is thoroughly convincing as a tough, streetwise lady. Her songs "All That Jazz' and "I Can't Do It Alone" with Roxane Francis and Sarah Ashton are electrifying. A superior performance indeed.

Roxy Hart , played very effectively by Naomi Muckenschnabel , the "other" murderess, is a very compelling character. Instead of the "dark, satanic look" of Velma, she is blond and dizzy a clever interpretation of this role. Naomi gives an intelligent, perceptive performance and is equally convincing as a tough lady, with a touch of confusion thrown into her character. Her songs "Roxie"( sung with the Boys) and "Me and My Baby" and are highlights of the show as is "Nowadays" sung by both Roxie and Velma.

Mark Curr takes the role of Billy Flynn, the spiv, amoral lawyer who make s lots of money out of representing criminals such as the two central characters. He is very credible as a seedy, dishonest, manipulative man whose interests are "money and women". Mark is a seasoned character actor, and once again demonstrates his skill. He relates very well to his audience and his musical numbers were excellent. "Razzle Dazzle" seemed to epitomise the theme of the whole show - the audience loved it.

Naomi Bain as the matron of the jail held the play together as a major character. Her songs, particularly "When You're Good to Mumma", are delivered with energy and style - she has a wonderful Billie Halliday voice and is a very competent actress.

Likewise Graeme Quinn as Amos Hart, an experienced and highly skilled actor. He is very convincing as the weak and pathetic husband of the reckless Roxie. His song " Mr Cellophane" was filled with pathos, a theatrical change of pace and mood that worked beautifully.

Fred Casely and Sergeant Fogarty, two important roles portrayed by Bob Blair (standing in for George Muckenschnabel) as Fred and Stuart Moor as the Sergeant , provided the exposition for the plot - the murder scenario. Both characters were convincing and so the audience was able to have some understanding of events that took place that set the scene for the play. Bob Blair followed this with numerous entertaining appearances as the "deceased"Fred.

The Jailbirds, inmates with Velma and Roxie, are another highlight of the show. Jodie Bain, Penny Lawrence, Kathy Sharman, Louise Morley, Katie Rossington sing dance and act with credibility and smouldering vitality. The 'Cell Block Tango" was an excellent routine and their costumes were extremely attractive.

Cameo roles played by Jaime Bouquet Milne as Mary Sunshine, Go-To-Hell Kitty plyed by Carmen Scott, Peter Maybon as Harry, Tim Hughes as Aaron, Graham Price as Harrison, Jock Lehman as Court Clerk, and Denis Haselwood as the Judge were all carried out with a deliberate aim to make the most of each one of these characters. It is evidence of the depth of the acting talent in the Arts Council.

The chorus work was professionallyl done, both in acting and singing. It was quite noticeable that each member of the chorus was well rehearsed, stayed in character and in their various roles as reporters, jury members, audiences they performed with confidence and ability.

One of the most outstanding scenes of the show was the "Puppet Scene" where Billy rehearses Roxie for her forthcoming trial. The chorus work was wonderful - restrained, rhythmic, innovatively choreographed.

Another compelling scene was the "Trial". A complete change of pace, full of tension. and ending with its own shocking special effect.

Congratulations to Fred Blair, Valerie Boekaebe, Louise Coleman, Desmond Fitzgerald, Chris Hodder, Erin Hodder, Nesta Johnson, Cameron Moor, Tereti Withers, Anne Marie Wetherspoon for excellent individual and teamwork.

The last and major plaudits must go to the band. Conductor - Kathryn Spillane; Keyboard players Shanny Core and Kathryn Duddy; Trumpet - Jonathan Mitchell; Clarinet- Miriam Dadley; Tenor Saxophne -Daniel Gildenhuys; Alto Saxophone- Declan Peake; Soprano Saxophone- Richard Kiehne; Percussion- Scott Macansh; Bass and Double Bass- Sam Williams,; Guitar - Luke Oppenheimer, Violin - Col Pike.

This was a Jazz Band that audiences would happily listen to all night! Perhaps the players might like to reform to give a concert or two in the future?

The production team of Mal Kiehne as Stage Director and Lighting Designer, Kathryn Spillane as Musical Director assisted by Jodie Bain, Julia Fomiatti and Penny Lawrence can be justly proud of their work. As a first time musical director Kathryn has created a group of vocalists, a chorus and a smooth and sophisticated band who deliver the many jazz numbers with pizzaz . Garry Kiefer as the sound engineer has handled their efforts very sensitively.

The stage direction by the very experienced Mal Kiehne has resulted in a show which moves smartly along and flows beautifully from scene to scene aided by the obvious competence of the stage manager Louise Coleman.

The set design by Jack Ritchie is extremely effective, minimalist, with heavy emphasis on the colours red and black so appropriate to the theme and so strong. The band on stage as the backdrop to the entire play is a masterstroke as were the prison cages which appeared when needed.

Mal Kiehne's excellent lighting design helped create the variety of major mood shifts.

The choreography of the dances has been designed by a very talented team lead by Tania Davis and her troupe of dancers, Sarah Ashton, Bob Blair, Roxane Francis and George Muckenschnabel .They presented a series of very classy routines integral to the story with professional ease, joined in several of their really entertaining routines by Geoffrey Hill.

There is much more that could be commented on in this musical. The performance is full of drama and action.

I thoroughly recommend this Arts Council Production ( in association with Dominie Drama) to audiences young and old.

It is at the Chapel Theatre November 30th, December 1st, 2nd, 4th, 6th, 7th, 8th.

Don't miss it!

Chicago, the musical
Directed by Mal Kiehne