VELMA AND ROXIE KICK BUTT ON STAGE AND SCREEN

Hi fellow musical fans, I am back after a spell of writers block. My subject this time is the musical with true razzle dazzle, CHICAGO. I was lucky to see  a very good amature production off the first Incarnation of Kanders and Ebb's CHICAGO in the 80's and was instantly a fan. Any show that contains a prison full of merry muderesses and a tap dancing lawyer should be fun and it is.The story focuses on Roxie Hart a 1930's struggling Jazz performer who is arrested for shooting her lover despite her naive husbands attempt to take the wrap for her. whilst in jail run by the deliciously corrupt Mama Morten she meets the press sensation of the time the double murderer Velma Kelly. The two then become locked in a battle of wits to get the press on there side with the help off  the lawyer Billy Flynn whose motivation is entirely financial. If you think I am going to tell you the final conclusion you are out off luck, please go see the show yourself you won't regret it.

I mentioned earlier that there was an earlier incarnation of the show, well that it is a fact.  The original production of the show was not a great success so the geniuses Kanders and Ebb changed it for the better in the late 90's and had a triumph on there hands.When this production arrived in the West End it starred the German cabaret songstress Ute Lempe and our own musical jewel Ruthie Henshall. I saw this cast and was won over for a second time. Ruthie who was more used to playing the put upon heroine roles like Fantine in LES MISERABLES transformed herself into the scheming vamp Roxie .Ute Lemper was perfect in the role off the sexy and desperate Velma. Meg Johnson, who many will remember as Eunice Gee in CORONATION STREET street, played the corrupt Mama Morten with great relish. Billy Flynn's shoes were successfully filled by the great Shakespearean actor Henry Goodman.

It is well known by my friends that I do like a flashy set design however John Lee Beatty designed a very simple set almost a black box with occasional additions like the prison bars. Yet this works so well as it concentrates your eyes on Bob Fosse's fantastic original choreography. The costumes are suitably sexy - lots off black lace and see through lycra. The male dancers were very buff which the costumes certainly drew my attention too.

The music and Lyrics are some of the wittiest and catchy I have ever heard. I have to draw your attention to the brilliant Cell Block Tango which contains lines like "He ran into the knife, seven times he ran into the knife." Another favourite number of mine has to be When You're Good To Mama sung by Mama Morten to her girls, as she calls the prisoners, which is a plea for financial and other favours in return for things like extra blankets. The Lyricist and Composers Kander and Ebb are most well known for CABARET off course, but I would also like to recommend their lesser known shows such as THE RINK and 70 GIRLS 70. Very sadly we lost Fred Ebb a few years ago but Chicago is one hell of a legacy to leave behind.

Obviously I cant finish this article without the mention off the very fine film made off CHICAGO which starred Renee Zellweger and Catherine Zeta-Jones as Roxy and Velma. Now I can't say that I have ever been a fan of Catherine Zeta-Jones but she is very impressive as Velma.  I know that she started her career in musical theatre and has recently returned to it on Broadway in the award winning production of A LITTLE NIGHT MUSIC.  I say stick to where your talent lies miss Zeta-Jones and we can all be pleased. Rene gives a delicious performance as the fame hungry Roxy - totally without morals.  My favourite performance in the film  is delivered with both barrels by Queen Latifah as Mama Morten. Richard Gere plays Billy very well and his tap routine is certainly worth a watch. I  recommend this film highly but I suggest if you can see the stage show first as live theatre for me always holds that extra thrill.