There’s a reason the edgy 90s revival of Chicago The Musical has thrilled Broadway audiences for 30 years. Photo: Jeff Busby.
When Chicago The Musical hits Canberra Theatre Centre later this year, it will mark the first time a musical of this calibre has graced its stages. And judging by the rave reviews this production has been receiving, the nation’s capital is in for a treat.
Starring some of Australia’s finest triple threats, audiences will see Anthony Warlow oozing charm as smooth-talking lawyer Billy Flynn and leading ladies Zoë Ventoura and Lucy Maunder sparkle as celebrity murderesses Velma Kelly and Roxie Kelly.
Asabi Goodman as Mama Thornton electrifies the house with her powerhouse vocals and the hilarious Peter Rowsthorn pulls at the heartstrings as Roxie’s beleaguered husband Amos Hart.
The show has been playing to packed houses across the country’s capitals and come September, it will be Canberra’s turn.
With its simple but effective production techniques and iconic choreography by Ann Reinking in the style of its original creator, Broadway royalty Bob Fosse, there’s a reason this version has remained on Broadway for almost 30 years.
In the opinion of Nathan Pinnell, who plays Dance Captain, it is the way a satire on the concept of the “celebrity criminal” should be presented.
“Ann’s choreography honoured Bob Fosse’s work; she used his dance dialogue and vocabulary. But the performers were in all-black costumes, one costume per performer, an orchestra set in the middle of the stage, simple lighting, simple design … With that, she showed us what Chicago was,” he says.
“It was so sexy, with a grit that spoke for itself, with a script so dark and witty, and songs so catchy, it didn’t need bells, it didn’t need whistles or a thousand set pieces to guarantee a good time. I think Canberra audiences will absolutely fall in love.”
Ironically, while the original version was somewhat divisive due to its Brechtian disregard of the “fourth wall” (the invisible barrier between performer and audience), this characteristic is celebrated in the 90s version.
It’s also littered with “iconic moments” – from the gloriously backlit reveal of the legendary Velma at the beginning to the Velma and Roxie Hot Honey Rag duet staged in front of a golden curtain at the end.
Canberra’s Hayden Baum will be “checking off a bucket list item” when he returns to his hometown to perform in the show.
He’s part of the “ensemble”, the glue that holds the five principal performers together. It’s a dream come true in a production like Chicago, where triple-threat cast members can – and must – flex all creative muscles.
“There’s a reason this musical has lasted 50 years,” he says. “It encapsulates all the magic of theatre in one production.”
For Hayden, who began his training at the Canberra Dance Development Centre at age 10, performing in this production will represent a full-circle moment.
“As someone in the arts growing up in Canberra, seeing shows of this calibre at home was a rarity; normally, you’d have to travel to Sydney to see shows this big,” he says.
“This is the first time a major musical I’m in will come to Canberra, and I’m so excited. I know local audiences are going to love it.”
Chicago the Musical runs from Saturday, 7 September to Sunday, 29 September, at the Canberra Theatre Centre; tickets range from $69.70 to $219.90 – book at the Canberra Theatre.
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