I know it's a cliche title, oh well.
My sister suffers from SAD (Seasonal Affective Disorder). Even after living on the East Coast for two years she is still struggling to adapt to the changing seasons. She is quite envious of me because I remain in sunny Southern California. So, a few weeks ago I flew out to New York to visit her and perhaps share the spirit of vitamin D through association. While in the city, we decided to see a Broadway show because I had no desire to let my sister drag me to Twilight again. Like other forms of entertainment, Broadway provides a unique escape from life's monotony, but Broadway has the extra allure of impressive live productions. After considering the shows with available tickets we selected Chicago.
Chicago is a unique Broadway revival that has actually run longer than the original play. Chicago opened in 1996 and won several Tony Awards including Best Revival. When I saw the musical in February, the packed house revealed that Chicago is still running strong despite the effect of the economy on Broadway, which has resulted in the closing of several musicals including Spamalot, Hairspray, and Spring Awakening. I may be too kind considering that Chicago is now located at the Ambassador Theater, a smaller location in comparison to other musical venues in the theater district; but as a result of the location, the performance was strong and intimate, like a 1920s cabaret.
I did not know how to prepare myself for the production. I had seen the movie Chicago many times and could practically perform it myself, but comparing different artistic mediums usually results in inappropriate symmetrical comparisons. I eventually decided to refrain from referencing the film, but it still remained in the back of my mind. When the performance began, I was confronted by a minimal set filled with a chorus dressed in tight sexy costumes performing a smooth rendition of "All that Jazz." I then knew that this was NOT the film, and all my assumptions left me.
The minimal set, though sometimes a disappointing aspect for new theater goers, was appropriate and successfully utilized by both the band and the actors. The newest revival of Sweeney Todd must have considered this Broadway success when establishing their set, which is presented in similar manner. In Chicago, the performers made smooth transitions between their musical numbers and acting sequences with minimal set adjustments that often just included chairs. As a result of this, the musical required strong performances from all the cast members, and they delivered.
Charlotte d'Amboise gave a stellar performance as Roxie Hart. D'Amboise was both comical and sexy, presenting a refreshing perspective of Roxie Hart that was personable despite her character's manipulation and self-interest. The other performers were not as strong, but still gave wonderful performances, most notably Velma Kelly played by Amra-Faye Wright. Wright, though older than the rest of the cast, stunned the audience with her powerful yet sultry voice, which has helped establish her independent career as a cabaret singer.
I remained completely engaged during the first act and was actually disappointed when it was intermission. I usually anxiously wait for intermission and bolt for the restroom to avoid ridiculously long lines. But this time I stayed in my seat, excited and ready for the rest of Chicago...
The dance performances were dynamic combining both sharp and fluid movements, capturing the music.
The set, though minimal, was easily transformed at the will of the cast through their strong stage presence.
The band, elevated on stage, added to the entertainment factor but also provided some comedic dialogue.
The monochromatic costumes increased the power of the performance and the sexuality of the cast.
This review may sound a little redundant - powerful, strong... but it was a powerful performance of Chicago, and the intimate environment of Ambassador Theater intensified everything. There is no doubt about why this revival has run longer than the original.
This Broadway classic really did "razzle-dazzle" me.
(In this video there are lots of celebrity cameos, like David Hasselhoff... luckily I did not see one of those nights.)
1 comment:
Ah, Broadway.... I must admit I have a love hate relationship with Broadway. My parents would drag my sister and I to a couple every time we visited New York, so I have been to at least half-a-dozen in my life thus far. I was not a fan of RENT and found myself enamored by The Producers. Chicago is one I haven't seen, not even the movie.
That being said, I wish to comment on a couple points you bring up. You point out the economy having an effect on Broadway, which I found quite disturbing. It really goes to show that Broadway really depends on tourism for upkeep rather than locals nowadays. In the Great Depression this would not have been the case as Theater and Movies boomed during that time. Now it seems like Hollywood is taking its toll.
It is interesting then that you would be so focused on the idea of the movie up until the show actually began. This demonstrates that Hollywood has indeed skewed our ideas of Broadway plays, and what we should expect.
Lastly, I felt your review was extremely positive... almost too positive. I really liked you line of logic following the Minimal stage props and scenery. I wished you had followed it a little longer.
Nicely written.
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