Broad Brook Opera House

present

CHICAGO, THE MUSICAL

February 10 - 26, 2012

www.operahouseplayers.org

Reviewed by Debra Tinkham

Versions and variations of “Chicago, The Musical” have been around since 1926, according to Wikipedia.  Originally, “Chicago” was based on a play by Chicago Tribune reporter, Maurine Dallas Watkins, who was assigned to cover the 1924 murder trials of Beulah Annan and Belva Gaertner.

“Chicago, The Musical” with all of the original show-stopping songs, is performing at the Broad Brook Opera House to a sold- out crowd.  Regardless of which production you have seen, Broad Brook’s version is a must see!  Hats off to Stage Manager, Mandy Bates; Producer, CherieLee Bell; Director, Becky Beth Benedict; Choreographer, Alison Bogatay; Musical Director, Angela Kilmaytis; Percussionist, Dan Volpe; Trumpeter, William Wasserman and Saxophonist, Aaron Jackson.  All are hugely responsible for making this production the standing ovation success that it is. 

Many, many “behind the scenes” staffers should receive an honorable mention for pulling off such a successful undertaking.  Who else could there be, you ask?  Well, let’s start with the diagram artist, program designer, graphic designer, head shot/rehearsal photographer, web master, publicity staffers, box office handlers, spotlight operator, sound board operator, light board operator, wig and hair designer, set construction, set design, dance captain, stage crew -- to name a few.

In case you have been in an extended coma, the story line goes like this:  Velma Kelly (Nicole Giguere) is accused of murder.  (Apparently she murdered her husband and her sister when she found them in bed together.)  Velma welcomes us to the show with “All That Jazz.”  Meanwhile, Roxie Hart (Meg Fenton Funk), a chorus girl, is accused of murdering her lover, Fred Casely (Bill Moskaluk).  Roxie’s husband Amos (Mike King) initially takes the blame and Roxie shows her appreciation with “Funny Honey.”  Velma who “is in good” with the corrupt prison matron, “Mama” Morton (Kathi Such) sings “When You’re Good to Mama” mama will make things go your way. 

Velma is jealous of Roxie, who is jealous of Velma for both want the limelight – solo style.  Billy Flynn (Jeff Clayton), Velma’s attorney, is sleazy enough to be bought by Roxie, thus, some turbulent music ensues with “I Can’t Do It Alone,” demonstrating some fancy footwork and gymnastics with a chair.  Our Velma and Roxie are not the “petite-ist” in the crowd but boy, did they work their bodies.

To make a long story short, Roxie now has the spotlight thanks to Billy’s re-arranged story of the gun fight.  Velma thinks doing a “Sister Act” with Roxie will bring back her fame until she can once again go out on her own and Roxie thinks faking a pregnancy in prison will keep her on top.

This is a most entertaining production and the story plot seems less important than the pure entertainment of the music.  Costumes, characters, comedy, voices, actors, lighting, stunts, action and timing were all a “Bo-Derek-10!”  Chicago at Broad Brook is a must see, but you better hurry because tickets are going fast.

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