This was a tough one to write. There are a number of things I loved about this production, and some exceptional performances. There were also performances that I found disappointing. The overall show is good, but it didn't sizzle for me. I have realized that my disappointment with the show came from my expectations. It was not the show I wanted to see.
A brief history: When this show was first released on Broadway in 1975, it was called Chicago: A Musical Vaudeville. It was not a financial or critical hit. During it's two-year run, it flirted with closing a number of times. Each number was an homage to a specific vaudeville/burlesque act or personality, and had the heavy touch of Bob Fosse. In 1996, a stripped-down version of the show was revived on Broadway, and started garnering the awards and the hype. The show took on a dark red/black tone and concentrated more on the dance. It was a concert, more than a show. Even the name was changed to Chicago: The Musical and re-choreographed in the style of Bob Fosse by Ann Reinking, I'd seen the former, but not the latter.
I'm not sure why it was that I thought I would be seeing the more "modern" version. Maybe it was because I hoped to, or it was the fact that Vaudeville was not in the title of this production. Maybe it was the poster design, which displays a modern skyline of Chicago and is done in the newer representation of black/red/shadows that led me to believe I would see something different than what I knew. So, because of my expectations, things didn't come together for me. And I couldn't review a show based on that. It's not fair. I have to judge it by what I actually saw on stage.
Here's what I saw: Julie Bayer was brilliant as Velma. Spunky, energetic, and a voice that hits all the right notes and timing that enhances, rather than detracts from, the comedy. I was somewhat disappointed in Heather Miller's version of Roxie, primarily because she fell flat during the ends of phrases in her songs. I don't know enough about why that happens: breath control, support, whatever it was, but the night I saw her, big finishes to songs felt under-sung.
The girls outshone the men in the chorus functions. Men were put primarily in the back to hide them, which is often the case in community theatre. Many times, however, it felt as if they were place holders, and not in the same show with the other cast members. Some of my favorite numbers were Cell Block Tango and Razzle Dazzle. I have to be honest, though: I really missed the presence of Bob Fosse in the choreography. Again, that's probably based on a perception, but his style is synonymous with the show, and I found myself wanting to see some of that.
I liked Billy Flynn as portrayed by Garret Ard. He had a nice blend of sleazy, smarmy and controlling. He was fun to watch. Reneisha Jenkins gave a nice portrayal of Mama Morton. I did feel that the low notes of her signature song were a little out of her range and she had a hard time pushing them out. However, her duet of Class with Velma in Act 2 is one of the best songs I've heard on stage in quite some time. Based on her biography, I really wanted to see dance more in the show.
I would be remiss if I didn't mention Jamie Sandoval's performance as Amos Hart. Heart-wrenching and innocent, he did a great job with Mister Cellophane. I believed every moment of his performance. He committed to a character and stayed with it. I was not as happy with E.L. Dunsanek as Mary Sunshine. Besides problems staying on key, the character seemed to have trouble staying on task and seemed to start performing for a few in the audience rather than the whole.
Director Craig Gustafson did a nice job with what he wanted to present. It wasn't what I wanted to see, but that's my issue, not his. Looking past that, it's a fun production, with some wonderful performances. And the clever set that is a series of rotating panels and channeled side drapes was designed by him.
I did have an issue with hearing the band, especially the overture that comes from behind the curtains. It's a musical, dammit...I want to hear the music. Then, when I did hear them, there seemed to be some trouble finding notes and slow tempos on songs that should have sparkled. Finally, while I usually don't mention costumes because I'm not one to notice them, I did notice these and thought most of the costumes were ill-fitting and unflattering on the women, especially the chorus.
Paid: $21
Worth: $16.80 (based solely on what I saw, and not what I wanted to see)
2 hours 24 minutes, with intermission
I agree with much of what you said, with the exception of the two leads. I hated Velma and I loved Roxie. Velma was like a cartoon character, way too over the top and her lines did not ring true.
ReplyDeleteMary Sunshine was horrible, I couldn't understand a word and your right, often off key.
I saw the revival of Chicago which was very entertaining but I liked this version and the director did a super job. My only complaint was it sounded like the orchestra was playing down the street. They should of put the orchestra on the stage. They could of been upstage center. Those backgrounds were great but they maybe could of used them in a different way and put the band right there.
The costumes on the women were bad.
And hey Fosse chorography is really stylized and super hard to do. I can't imagine trying to find people in community theater who are talented enough to dance Fosse style plus sing and act. The chorographer did a great job with what she had and it was fun to watch.
I give it $20, your a little too rough on shows, especially where everyone is having fun up there and it shows. And their not getting paid for it.
The show is AWESOME! I refuse to criticize voluteers. If you want to know if you should see it or not, yes you should..it will be a great night. Everyone in the cast gave it up and if it wasn't there, it probably is not a strength of the actor. It was well cast and I was awestruck that such talented people could be found. An extremely talented choreograher took the amature dancers to great and impressive height! It was Fosse-like but there is no duplicate of the man or his talent Mr. Barry.. "They always seem to be suprised by that" (Billy Flynn) It probably takes an actor to truely appreciate the skill and talent it takes to perform this show; Dozens of costume changes many with merely minutes to perform, dance numbers to memorize and a script that has to roll off the tongue in perfect timing to smack of the zinger that is in it. Awesome hairstyles, beautiful and adorably sexy chorus girls and live band playing difficult music is what I saw. $21.00? Are you an absurd person or just ignorant? Is it a value Mr. Barry? I have paid over $100.00 for "professional" theatre seats and not been nearly as entertained. I watched the show and found myself actually smiling as I saw a spectacular display of local talent giving up their hearts and souls with every song. If one has not seen this show, you may miss one of the best musicals I have ever seen at Wheaton Drama. Mr. Barry, if you want Steppenwolf, fork over the big dough and go downtown. If you want great community theatre, it is in Wheaton's backyard for twenty-one bucks! If you need the $2.50 refund, call me I'll start the "BB Cry-baby club of, "gee I thought I was getting the Broadway version."
ReplyDeleteRon- you are well within your rights to refuse to "criticize" volunteers, but how will things ever improve if there isn't constructive criticism? If everyone just proclaims that every show they see at Wheaton Drama is "the best show ever", how will the quality of their productions ever improve?
ReplyDeleteMr. Barry was rather kind in his review. There are some huge flaws with the production, but no one at Wheaton will hear them because their barometer for a "good" show is based on ticket sales.
There were some shining moments in Chicago, (Billy Flynn, the "Class" duet) but there were also some very low points. The brass in the pit was terrible. The energy was severely lacking in most of the cast which caused the show to just drag (this may have been partially due to most of the songs being done at a slow tempo). The choreography seemed haphazardly put together and disjointed. Mary Sunshine was incoherent and impossible to understand. The girls were trying to be sexy instead of just being sexy (there is a huge difference).
What I saw was an ok community theater production. What I wanted to see for $21 a ticket was a fantastic community theater production, especially given the great material they had to work with.
I won't argue that there was talent on that stage. It was oozing with talent. Unfortunately it was oozing with talent that was underutilized and, in some cases, mis-cast.
OBVIOUSLY YOU DID NOT SEE THE SAME SHOW I DID. ACTUALLY, I THOUGHT ROXIE PUT IN A MUCH BETTER PERFORMANCE THAN RENEE ZELLWIGGER IN THE MOVIE.
ReplyDeleteWell I must definately disagree with your comments regarding the characters of Velma and Roxie.
ReplyDeleteI found Velma to be very one dimensional. Improvement needed. The portrayal of this character was just OK.
However, I found Roxie to be a multi-faceted character. She was sweet, calculating, cruel, loving. All rolled into one neat little red-headed package. I loved her, and I look forward to seeing this actresses next performances.
Billy Flynn was excellent. Amos was pitful, which is what he should be. Great job on these actors parts. Mama Morton's acting was weak at best, but a powerful voice.
Yes, the band was weak. The dancing could have been better. But all in all it was a great show. Fun, fun, fun.