It’s 6pm on a Thursday night and there are about 20 people sitting in a circle in the drama studio of Glenwood High School. It may be a small group but the rousing applause that follows Charon Williams-Ros’ rendition of 'When you’re good to Mama' is equal to that of a full house.
The group – singers, actors, dancers, musicians and stage hands – have come together for the first full read-through of Chicago, the musical.
This, Durban’s first staging of the Broadway show, is to be a no holes barred production with a nine piece band, a cast of 16, a dazzling set and, to coin a phrase, all that jazz.
“It’s the most expensive thing we have ever done,” says director Steven Stead, “and it’s a privilege to be able to do it.”
story_article_left1
Stead’s company Kickstart which he runs in partnership with artistic director Greg King, was given permission by Hazel Feldman who holds the South African rights to Chicago – a dream come true for Stead who describes it as one of the last of his “bucket list” shows.
Expectations are high, and understandably so. Stead’s adaptation of the musical Sweeny Todd last year and Cabaret a couple of years earlier took the South African stage by storm, with each winning a slew of accolades and awards. He says he is not sure what comes next – Mame and Hello Dolly are favourites but would be massive shows to produce. “Perhaps Man of La Mancha?”
But now all his and King’s energy is firmly focused on Velma, Roxy and the other showgirls who find themselves in jail, awaiting trial for murdering husbands or lovers.
Set in Chicago in the “roaring” 1920s and based on two actual murder cases that occurred at the time, the provocative musical was created in the 1970s and directed and choreographed by the late great Bob Fosse. This year is the 20th anniversary of Broadway’s longest running American musical.
The story revolves around nightclub star Velma Kelly, in Cook County jail for murdering her husband and sister, and chorus girl Roxie Hart, in jail for murdering her lover. The two are quick to employ the services of slick lawyer Billy Flynn who works with the media to turn them into celebrities and get them aquitted.
“It may have its roots in the 1920s but its heart is firmly in the 21 century,” says Stead adding that this is the blackest of satires. Chicago throws the literal and metaphorical spotlight on fake celebrity status, corrupt legal systems and a cynical press that feeds a voyeuristic public exactly what it wants. “Crime is given a glamorous status,” he says, “It’s all very relevant. The girls have their 15 minutes of fame, but it’s transitory – like a Facebook post that you can’t even find 15 minutes later.”
The show, he says, makes the audience complicit. “You are thoroughly entertained by the slick choreography and jazzy tunes but when you leave the theatre you start to think about what you have been applauding.”
• 'Chicago' runs from April 7 – 30 at The Elizabeth Sneddon Theatre. It stars Katy Moore as Velma and Jessica Sole as Roxie. Also in the cast are Jason Ralph as Billy, Charon Williams Ros as Mama Morton and Bryan Hiles as Amos. Booking at Computicket.
•This article was originally published in The Times.
Just R20 for the first month. Support independent journalism by subscribing to our digital news package. 