CHICAGO - A MUSICAL VAUDEVILLE South Coast Choral and Arts Society (SCCAS) Victor Harbor Town Hall Until 06 Aug 2021 Review by Brendan Watts As I sit down to pen this review, I must first highlight that if you have not yet purchased your tickets for this show then read on to see what you will be missing. As has often been the case in recent months as we all rush back to seeing live theatre, this production of Chicago has been sold out for a little while. This iconic musical, based on the play by Maurine Dallas Watkins, follows the stories of Roxie Hart and Velma Kelly. Two murderesses who vie for the spotlight and the headlines, as they try to be acquitted by their lawyer, Billy Flynn. When entering a venue to view Chicago, one has come to expect a certain atmosphere, drawing you into the nightclub atmosphere of the 1920’s. Director Jonathon Ogilvie does not disappoint, with audience members entering to the sounds of “Mack the knife” and other similar tunes equally appropriate to the era. An extra authenticity was added to this through it being played live by the band, rather than simply being played as a pre-prepared soundtrack. Foregoing the contemporary red hues often seen in modern productions, the simple stage setting, with the tables and chairs in front and on side of stage, drew the audience into feeling one with the chorus members seated in chairs just before them. The 12-piece band, ably lead by Tim Wormald, were on-stage during the entire performance. The staging required to facilitate this was impressive and the topic of many conversations in the auditorium both in the intermission and following the show. Several band members made on-stage appearances also, further demonstrating the depth of their talents. Ally Miller (Roxie Hart) made excellent use of her facial expressions and body language to convey her character’s emotions, drawing the audience along with her performance. She grew in confidence as the show progressed, releasing a powerful performance in the second half. Although not vocally as strong as some as the other leads, Shannen Beckett (Velma Kelly) created a convincing character. She balanced well with the strengths of the other leads during her duets, combining powerfully with Georgia Martin during the song “Class”. At times the volume of the chorus overwhelmed that of the leads, resulting in them being drowned out. Likewise, several delayed lighting cues left people unlit whilst delivering their lines. However as with all opening night glitches I am confident that these small oversights will not impact on the experience of future audiences. The choreography of Natalie Stevenson combined several unique elements, whilst retaining many of the more recognisable movements. A good example of this was in the song “Me and My Baby”, where the creative use of padding and dolls were used to great effect. Despite minor timing issues arising in some numbers, the simple moves were generally effective. Jonathon Ogilvie and his costume team captured the essence of the era, with the costumes helping to bring an authenticity to the performances of the cast. Chris Stevenson brought a genuine naivety to the role of Roxie’s downtrodden but loyal husband Amos. He partnered well opposite both Roxie and Billy Flynn, modulating his voice to great effect to achieve the range of emotions necessary for this role. This was most evident during his performance of “Mr. Cellophane”, which was received with acclaim by the audience. From the moment that Georgia Martin (Matron “Mama” Morton) strode onto stage, her performance was well rounded with her confidence making the character strong and believable. Natalie Harding (June), Mia Kareen (Mona), Anjali Nelson (Annie), Jemma Sims (Liz) and Sophie Meers (Hunyak) provided a powerful performance as the “Merry murderesses” in the “Cell Block Tango”, ably supported by other members of the ‘vaudevillian’ ensemble. The smaller but no less important roles of Fred Casely (Flynn Turley) and Kitty Baxter (Courtney Press) were presented confidently and showcased their individual talents well. A special mention for the performance of Mary Sunshine (Kiara Wiese), as her characterisation and vocal talents combined to produce a memorable performance. John Grear was most convincing as the celebrity lawyer Billy Flynn, self-titled champion of the downtrodden, who does it all for love.. and $5,000. His charismatic portrayal of this challenging role allowed the other characters and ensemble to combine seamlessly in the larger choreographed numbers. The breadth of his vocal talents was realised in his management of the demanding number “We both reach for the gun”. It would be remiss of me not to highlight the many members of the ensemble, whose ability and discipline to their characters throughout was instrumental in keeping the audience engaged during the larger scenes. In conclusion a most enjoyable evening of community theatre, combining authentic characters, strong vocal performances and a supporting cast that were obviously enjoying every minute of the show.