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Chicago at the Adelphi Theatre.

 

THERE are a number of ways to describe the musical Chicago. It's slinky, sultry, sexy, sophisticated and sleazy, which is just what you might expect of a show about murder, greed, adultery, corruption and treachery.

 

Chicago now in its eighth year at the Adelphi Theatre, is a masterpiece of cool black n' white sizzle and shimmer and hot razamataz and dazzle.

 

The plot revolves around nightclub dancer Roxie Hart (Sally Ann Triplett) who shoots her lover dead, and double murderess Velma Kelly (Amra-Faye Wright) and their efforts to get out of jail quickly with the help of super-slick lawyer Billy Flynn.

 

With flimsy black lace costumes and fantastic dance routines, the ensemble just about stole the show.

 

The female dancers had their long legs encased in black tights, and the male dancers in see-through black t-shirts and leather waistcoats, and they wound their bodies around chairs, ladders and each other with jaw-dropping ease.

 

Check out the simmering Cell Block Tango when raunchy Roxie dislays some sharp moves.

 

Former Pop Idol finalist Darius Danesh took over the role as smooth-talking lawyer Billy Flynn, in November.

 

Flynn boasts he can get both women an innocent verdict for enough money and make them stars in the process.

 

Darius, looking every bit the matinee idol, quickly won the admiration of the mainly female audience when he sang All I Care About (is love) and he was exceptionally good in We Both Reached for the Gun, a dance and mime number with Roxie.

 

Roxie's devoted but misguided husband Amos was well played by Victor McGuire, known mostly for his role in the BBC TV sitcom Bread.

 

In a heart-rending scene Amos describes himself in song as Mr Cellophane, a man so insignificant people don't actually realise he is there.

 

But there was nothing insignificant about Victor McGuire's performance which was so good you could feel the audience reaching out to him.

 

Sally Ann Triplett and Amra-Faye Wright sang and danced their way through Chicago, proving what a talented pair they are whether together or performing solo.

 

Chrissie Hammond reprised her role of Matron Mama Morton, the prison warder with a powerful pizazz.

 

Chicago, based on the book by Bob Fosse, with choreography by Ann Reinking in the style of Bob Fosse, is the longest running American musical ever to play in London, and is the longest running production at the Adelphi Theatre.

 

Principal cast members who change on a regular basis have previously included Denise Van Outen, former Wonder Woman Lynda Grant, Alison Moyet. Anita Dobson and Sacha Distel.

 

Sally Ann Triplett,(Roxie) Amra-Faye Wright (Velma) and Victor McGuire (Amos) will remain in their roles until the end of January.

 

As the show opens the audience is welcomed to Illinois in the late 1920s, a land of murder, greed, corruption, roughed knees, rolled down stockings, a hot piano and All That Jazz.

 

The opening routine led by dancer Steven Grace held the promise of an evening of decadent, foot-tapping entertainment, and it kept its promise every step of the way.

 

 

Chicago runs at the Adelphi Theatre from Mondays to Thursdays at 8pm, with Friday performances at 5pm and 8.30pm and Saturday performances at 3pm and 8pm.

Thanks Baytree, another good review for D.

I reckon it must be from December because it says D took over in November and speaks about the others continuing until January. It must be before the extensions to contracts were announced.

 

He was good in the role from day one and got better as he relaxed and played a bit with the character.

I've not read that review. It's good to see, thanks BT. I thought Stephen Grace was a fantastic dancer - another person I'd go and see again.

Thanks BT :)

great review, I hadnt read that one either.

Pip/Sharon, if I make a separate thread for the Chicago reviews,such as they are, would you be able to either pin it or tack it onto the G & D one and rename the G&D one?

The reviews are now seperate, it'd be a shame to lose this thread though. At the moment, I just think of Sky looking at Sarah and taking her back to New York. Not what yu'd expect from the character but, it showed so well how he'd changed.

"You talk like a missionary!"

 

Is it the dialogue/scene just before that you mean?

It is BT

If I was only allowed to pick a ten minute DVD clip from G & D, it would be from the end of If I Were A Bell to the interval curtain call. That little section was the one where Darius showcased all his talents.

I'd be with you there BT. It's the part you become aware of his acting ability. I did like the dancing in the Havana scene as well.

In the movie marlon Brando practically strolled away. Darius cut a dejected but still proud figure on that stage. He wasn't giving up, that was clear.

I think thae bit where the curtin came down ws really good.

It's a lot harder to isolate ten minutes or so of Chicago.

 

The press conference perhaps, or from the last bit of Razzle Dazzle through to ".............and God save Illinois"

I definately need 'All I care about' and very much 'We both reached for the gun'

It's a lot harder to isolate ten minutes or so of Chicago.

 

The press conference perhaps, or from the last bit of Razzle Dazzle through to ".............and God save Illinois"

 

I think I'd sneak another minute or two for Darius's big exit followed by Victor's "My exit music, please!" You need D's to make Victor's comedic.

 

If I was only allowed to pick a ten minute DVD clip from G & D, it would be from the end of If I Were A Bell to the interval curtain call. That little section was the one where Darius showcased all his talents.

I'd have that too....but cut the Kitchen shower bit and have some Havana dancing to make up the time :D

Chicago....10minutes from Meg, BT, DD, PiP and my cameras might just get it all...will that be ok :D

Sounds like a plan.

 

I wasn't sure of the point of the kitchen shower bit. was it just to engineer a meeting between the girls and for Adelaide to see Sarah with Sky?

 

 

 

Edited July 23, 200718 yr by Baytree