And All That Jazz: Open Chicago Again!

Bringing Back the Years: New York, Los Angeles & Chicago

By Jesse Schmitt

Coming to Los Angeles from New York City, the transition has been rough. Everything is different out here and I'm naturally suspicious of people's motives. It is my experience on Broadway; working there for seven years; which has made me wary of bigger theatrical musical transfers. So before going to see the LA production of “Chicago,” I had to find out a little more about the who, what, and why of this staging.

“Chicago” is still playing strong on the Rialto; my good friend Josh Rhodes was with the Broadway company until recently defecting to “The Drowsy Chaperone”, there was the movie adaptation with Renee and Catherine which got a great deal of positive play, and there have been tours which have littered the US and the UK. So why then, I wondered, was this version of the Kander and Ebb musical here (Hudson Backstage Theatre 6539 Santa Monica Blvd) now?

This production of “Chicago” is directed by Jeremy Lucas a former player to the role of Aaron and understudy of Amos in the 2001 Broadway Tour of "Chicago." (I wonder if he knows either my friend Josh or Tim McGarrigal, another friend from one of the “Chicago” tours?) Before setting foot in the theatre I’d decided that something like a small theatre production of a heavily saturated, meticulously crafted, and very popular musical like “Chicago” is more a labor of love than a piece looking for critical analysis or audience engagement.

Allow me to be the first to stand corrected. But first-

“Chicago” the musical takes place in the city of Chicago of the 1920’s, in a women’s correctional institution, and in the mythical netherworld which can only exist on a musical theatre’s stage. It tells the story of Velma Kelly (who, in this production was played by Katrina Lenk) and Roxie Hart (Bonnie McMahan), two conniving murderesses, Roxie’s guilty by association, pushover of a husband Amos Hart (Jon Paul Burkhart), the women’s defense lawyer who is a seasoned pro at capitalizing from people’s sympathies, Billy Flynn (David Pevsner), the scratch my back warden of this facility, Mama (Cheryl Murphy-Johnson) and all of the rest of the cast of characters who pass in and out of these two women’s lives.

“Chicago” owes a great deal to the musical accompaniment of the live band. Anyone who saw the movie will know this; the way it’s done on the Great White Way is the band is not in the pit but on the stage; up on platforms, to the rear. I’d never been inside The Hudson Backstage Theatre but was almost sure it had to be some manner of black box, which immediately presents challenges for a dance and live music extravaganza like “Chicago.”

Many people, when they go to see a Broadway musical, are quickly fooled by perspective. They are either on the floor, in seats which may lean slightly back, and are below the stage so they’re looking up, or in the mezzanine or balcony, high above the stage, often sloped in the other direction leaning forward, looking down. With all the carefully constructed lights and sound and smoke and mirrors that has become the Broadway experience many people are surprised to know exactly how small a Broadway stage really is. Still, I’d gauge that the theatre area at Hudson Backstage was maybe half in width and 1/3 depth.

But none of this stopped Mr. Lucas and his troupe.

This show took use of all that Mr. Lucas had taken away from his time performing as well as his understanding of the legendary dance maneuvers of the incomparable Bob Fosse; director and choreographer of the first musical staging of this show in 1975.

One of my big fears was that this show was going to stay true to the Hollywood glamification they did in the cinema. The movie was nice and all that jazz, but really? You can take your Rob Marshall and give me a live show with competent performers any day. I was very pleased to see that many of the players in the show were of the Actors Equity Association; the stage actors union; this showed itself in their dexterous manipulation of that tiny space to make their magic happen.

On the day I visited there were definite issues, but that’s the risk you run when you’re doing a big show in a small space. For instance the microphones kept cutting out mid-song and once I heard noticeable feedback. But that's what you can expect with all the movement and interaction in a show like “Chicago.” Also someone should really have a look at the light choices or make sure people know their blocking because even though people seemed to be hitting their spot, there's a difference between a character being "in shadow" and a character being in the dark. There are also floor to ceiling pillars which can obstruct sometimes; however it all could just go back to having big ambitions and a less than ideal space for these ambitions.

All the technical issues aside, this production was a true joy. This show has already won it’s first extension but honestly, I see no reason why it should ever close! The audience on the day that I was there was packed in tight and they loved every minute of it. If there is another show coming in, taking that space, I say good! This cast could use a bigger space anyway, to much greater effect.

Ms. Lenk as Velma was spot on; her dancing and singing were in the pole position while made look like an afterthought. Ms. McMahn as Roxie, I thought, at first, I didn’t like. I felt like she was playing "Hollywood;" however her smooth singing and sultry moves won me over in the end; her voice growing stronger as the character developed. Mr. Paul Burkhart was very comical in a way unlike any I’d ever seen for Mr. Hart; entering with a Carrottop hairstyle, a vest and bowtie, he was refreshingly younger than other’s I’d seen and had me in stitches at his punchy joke lines. Mr. Pevsner as Mr. Flynn shone with his strong vocals and his straight talk. Ms. Murphy-Johnson as Mama was also quite funny and commanding whenever she started to belt. I was also pleased that this Hollywood production of the show kept the Broadway joke that Hollywood dumped when they hired Christine Baranski for the role of Mary Sunshine. Willam Belli doubled the role of the emcee and Ms. Sunshine with a rough conviction; he even gave me a sticker with his image and name on it with the press packet which was very nice!

In the programs directors notes Mr. Lucas says of his decision not to too greatly alter his staging “Part of me feels that if something isn’t broken, why fix it?” “Chicago” at the Hudson Backstage Theatre got it just right and hopefully you were able to be a part of their celebration before their floodlights went dark.