(Note – I wrote this a week ago, and then promptly forgot to post it. Oops.)
Praise be, this time they’re not just wearing underwear. It’s very easy to forget that the massively successful revival of Kander and Ebb‘s Chicago, which closed in the West End last year after a roughly 15-year run and is still going strong on Broadway, began life as a streamlined concert presentation. The show – only a moderate success in its original Bob Fosse staging in 1975 – has become familiar almost to the point of ubiquity, even discounting the 2002 film (which messes about with the material in ways that mostly do it no favours at all), but it’s become familiar in a staging that employs almost no conventional scenery, and in which nearly everyone has only a single (black, skimpy) costume. Seeing the show, then, in a staging where there’s an actual colour palette on view (rather than fifty shades of black) is a welcome surprise.
And this, thank God, is a really good production. With the closing of the long-running revival in the West End, the rights to the show have once again become available to regional theatres; more than one has it scheduled for the upcoming season, but the Oldham Coliseum is, I think, the first to get a production up and running. It’s not the first time they’ve done it; they staged the show in the late 80s in a production that starred Caroline O’Connor, and while I did see it, I can’t honestly say I remember a great deal about it. I imagine their earlier staging did not use actor-musicians; this one does (or rather, three full-time musicians plus the cast), and I admit my heart sank when I realised the actors would be doubling as most of the band because all too often the result is simply that the score gets short-changed. This cast, however, pull it off triumphantly. The music sounds good all the way through, the playing is impeccably tight, there are no audible bum notes, and under Kevin Shaw’s assured direction the cast find all kinds of witty ways to incorporate the instruments into scenes – one of the reporters outside the courtroom, for example, uses a trumpet’s mute as the earpiece of a telephone.
The acting performances, too, are good right across the board. Yes, pretty much everyone is about twenty years too young for the role they’re playing, but that’s hardly unusual in a production of this show. Special honours go to Adam Barlow’s sad-sack Amos Hart – he nails the Bert Williams act in ‘Mr. Cellophane’, white gloves and all – but the singing is all good, the zingers all land, and this company is giving a thoroughly entertaining account of the show. Yes, some of the American accents are a bit wonky; yes, putting Helen Power and Marianne Benedict (Roxie and Velma) in wigs and costumes that make them look like Renee Zellweger and Catherine Zeta-Jones, who played their parts in the movie version, is a strikingly unimaginative choice; and yes, it’s fair to say that not all of the choreography is executed quite as slickly as you’d have expected in the West End revival, but it really doesn’t matter: this production is not as cool or as sexy as the show has sometimes been in the past, but the show has possibly never been more fun than it is here. This, first and foremost, is a musical comedy. It’s sharp, colourful, strikingly performed, and very, very funny indeed, and the cast – all of them – are clearly having a wonderful time. Yes, it’s very definitely a scaled-down production, but the gains far outweigh the few losses.
It’s also – and this is a bigger achievement than you might think – accomplished with a fraction of the resources available to a commercial West End or Broadway production, and has tickets on sale at just one-third of the average top price for a West End musical. In terms of bang for your buck, when it comes to musical theatre in the UK, this Chicago is just about as good as it gets.
Any criticisms at all? Just one, and it’s of the theatre rather than the show. I love the Coliseum. I’ve been going there, off and on, since I was a very young child – it’s at least 35 years since I first set foot in there. I think they’re great, I think they’re Oldham’s most valuable cultural institution, I think the recent renovation is terrific, I am impressed that they refuse to overcharge for drinks and programmes, and their box-office staff are unfailingly helpful. They’ve now introduced a print-at-home facility for online bookings, and unlike some
gougers ticket agencies, they don’t charge an additional fee for it … but the receipt you print off in lieu of a ticket, although it does include your seat number, makes no mention at all of whether the seat you’ve booked is in the stalls or the circle. I knew what seat I’d booked, but that’s an argument waiting to happen, and it needs to be changed.