5678!
TheatreTrain brought flappers and fun galore to Medina Theatre with their teen edition of “Chicago”, the Tony Award-winning musical by Fred Ebb and Bob Fosse, which later won Academy Awards in 2001 when Rob Marshall directed René Zellweiger and Catherine Zeta-Jones in the titular roles.
I nervously thought to myself that the company had taken on a big project: “Chicago” being a very dance and song heavy production, telling the stories of two murderesses in the Crook County jail trying to win their freedom with the help of a crooked lawyer. However, from the moment I entered Medina and saw what the superb production design had done with the space, I had an inkling it was going to be fine.
Jazz music blared out from the band situated on stage, and several of the cast ably sung Postmodern Jukebox-esque numbers with confidence and aplomb. It really helped immediately settle the audience into the setting and unique framing device “Chicago” famously employs, showing the world of the play as a stage show and freely embracing artifice and theatricality.
Ruby C as our MC boldly kept the parade of colourful characters briskly moving along and commanded attention well. The female presenting chorus, as a collective, fleshed out the world of the play in many minor roles, and performed the superbly slick choreography of Callum Davis to a tee. Some standouts included Ann as the reporter, Harriet as an energetic Fred Casely and Ella as Hunyak, for speaking Hungarian for her role, and really selling the sadness of her plight with her repeated cry of “not guilty”.
Lyla brought a surprising amount of warmth to her role as Amos. Olivia’s Mary Sunshine floated around the stage with great comedic levity. Lilly’s Mama Morton delivered “When you’re good to Mama” with brass, guts and a whole lot of “gumption” (excuse the 20’s slang). Catherine gave her Billy Flynn a cocky swagger that drew attention constantly whenever she was in a scene. This young performer already is showing an understanding of how to hold a audience through an engaging performance.
It would be of benefit to Theatretrain to really give these fledgling actors further opportunities to work on their acting craft and the talent they are beginning to show. Performances like this in the hands of other young actors, could be forgotten about in such a dance and song heavy show. Dialogue delivery and performing a character are as important as learning a dance routine or song.
My final points come however about the leads. Lottie described Velma Kelly as her dream role, and boy you could tell she was having a blast playing her. A natural dancer, her physicality matched Velma’s fiery nature perfectly. Definitely one to watch for the future. Mary as Roxie Hart ably went toe to toe with her, as she took us on Roxie’s journey of fame, notoriety and heartbreak, another triumph indeed.
Both performers resolutely kept in character throughout, despite several frustrating tech hitches with microphones, which meant some dialogue was not heard by the audience. A slight hiccup that several reviewers have noted across several different shows. But hey, that’s showbiz kids!
All in all, a strong showing from a cast with a high ceiling of potential. From a 32 year old who has been lucky enough to perform in many Island shows, I have to say I am envious of the young creatives we are lucky enough to have in these groups. They deserve as many chances as they can get to work with skilled technicians, choreographers, directors and fellow actors to hone skills and improve their confidence and ability.
I wish them well in their future endeavours, see you in auditions soon.
…and all that jazz!
Review by Olly Fry
IWtheatre 