Verdict: ⭐️⭐️⭐️⭐️ (reviewed Friday 23 May 2025).
Tall & Short Theatre’s production of Chicago, the most glam femme-fatale musical of all time, is a visual masterpiece. Choreography by Jaila Ellem (first time going solo!) knocks it out of the park; hands, limbs, head turns are all sharp, synchronised and clean, giving us some real appreciation for dance expression. We Both Reached For the Gun is emblematic of great visual storytelling, where we see an ensemble of dancers moving as frenzied media-reporters, undulating their bodies while taking notes about a woman accused of murder: Roxie Hart (played by Katie Vials).
Roxie’s prison rival is Velma Kelly (played by Willow Twine), a vampy, sorry-not-sorry vixen full of feigned remorse and real ambition, based on real life cabaret star, Belva Gaertner. Gaertner was accused of brutally murdering her husband which caused a media storm, and was acquitted. Maurine Dallas, one of the reporters covering the trial at that time, wrote a play called Chicago which examined the press’s role in creating ‘celebrity criminals’. Dallas’s play was posthumously adapted into a musical that audiences know and love today, with music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse.
Michael Astill is Billy Flynn, a smooth-talking silver-tongued lawyer with the flashy charisma of a game show host. Flynn carries a hefty price tag to represent his clients: $5,000 to be exact. Astill is always a scene stealer, you could throw any role at him (like the Teen Angel in Grease) and he would totally make it his own. Meanwhile Roxie Hart’s not so charismatic husband, Amos Hart (played by Nathaniel Lawson) garners the most sympathy on the night, particularly during his self-pity solo Mr Cellophone. “Gee, I hope I didn’t take up too much of your time,” concludes Amos meekly. Awwwwwwww!!!! We see you Amos! And we are here for it!
The business side of prison culture is also explored through ‘Mother Hen’ aka Matron Mama Horton played by Elizabeth Ellis with sensual agency. Ellis is fearless.
Overall, this production of Chicago is outstanding, although there were murmurs during the interval that some of the songs could have done with more projection. The speaking dialogue also feels rushed and generalised in key moments, missing the sarcastic bite that makes the musical so fabulously iconic.
The live orchestra directed by Helen Howe gives a 1920s jazz vibe, playing on an elevated platform behind the cast. Lighting by Tomas Gerasimidis enhances the seedy cabaret prison mood.
Benjamin May’s many directorial and production hats along with co-direction by Lachlan Ganderton has created the feel, the vibe, the energy of a female cabaret prison drama set in the heart of America with all the media manipulation that underpins it. Some things are timeless, and one line at the end of the show got a huge knowing laugh from the audience.
Only a short season til 31 May – don’t miss it!
Chicago is playing at Sutherland Arts Theatre till 31 May. For tickets and showtimes, go to https://thepavilionarts.au/event/chicago-musical/
Image Credit
Anthony Stone Studios