I know this is late in coming, but I only returned to the Stratford Festival this week to catch a show for the first time in three years. The pandemic had a way of changing everything, of course, as did life changes for me over the same time period.
I had a little trepidation returning to Stratford this week, as I did earlier this summer when I returned to Shaw in Niagara-on-the-Lake. Again I was fully masked for the entire performance and I was pleased to see so many others were as well. I strategically chose my seat, Row A, Aisle 6 in the balcony and I was not disappointed. The seat next to me was even vacant...bonus!
Nor was I disappointed with the performance either. This Chicago, the first major production of the 1975 musical in a long time, is stellar from start to finish. Credit goes of course to Fred Ebb for providing the book along with Bob Fosse as well as the lyrics, and John Kander who provided the music. But major credit for this production in particular goes to Director & Choreographer Donna Feore, who has pretty much become the Festival's Golden Girl when it comes to musicals.
Feore displays The Midas Touch throughout the production, with sharp & witty staging, maximizing the satire of the criminal justice system with amazing precision and dexterity. She also benefits from a stellar cast that performs every number to perfection.
Jennifer Rider-Shaw appears as convict Velma Kelly, accused of double murder and awaiting trial, basking in the sympathy of the public thanks to the clever dealings of her lawyer, Billy Flynn. Stratford stalwart Dan Chameroy plays the role of the Flynn with understatement, which works perfectly.
Everything is going swell until Billy takes on another client accused of murdering her lover, Chelsea Preston as Roxie Hart. Suddenly she is getting the public's attention and sympathy rather than Velma, and so the rivalry between the two begins.
Both Velma and Roxie are no angels but you do find it in your heart to almost root for them in spite of their crimes, and that is thanks to their not inconsiderable talents as well as Feore's direction. The plot, based on a true story out of 1920s Chicago, centres on the two of them and how they can gain both fame and freedom at the same time from lawyer Flynn.
But the rest of the cast is equally up to the task, with special mention going to Steve Ross as Roxie's put-upon husband Amos, who agrees to fund Roxie's defence to the tune of $5,000, and Sandra Caldwell as Matron Mama Morton. And kudos too to R. Markus as reporter Mary Sunshine for displaying a really phenomenal singing voice. Really there is not a single weak link in this cast, nor in the production as a whole.
The musical numbers range from All That Jazz to Roxie and Razzle Dazzle, all familiar outside of the show now, and lesser-known numbers that showcase the cast perfectly such as Cell Block Tango and Steve Ross' fabulous take on Mister Cellophane.
The brassy orchestra led by Franklin Brasz is with them every step of the way, and the sets and costumes by Michael Gianfrancesco and Dana Osborne respectively are imaginative and perfectly complement the show.
I have always felt nobody does musicals better than Stratford does, and their return to the stage in full force this year with Chicago proves the point yet again. It only runs until October 30th at the Festival Theatre but you still have time to catch it while you can.
The lovely drive at this time of the year with the fall colours just makes the trip all the nicer!
Chicago won't disappoint and rates a very strong four out of four stars.
For tickets and information got to www.stratffordfestival.ca or call 1-800-567-1600.
Have a great Thanksgiving weekend!
October 8th, 2022.
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