Chicago, written by John Kander and Fred Ebb, is perhaps the most impressive production to hit Princeton's theater scene this academic year. The musical, directed and choreographed by the talented Amanda Brandes '02, features remarkable singing, acting and dancing that would make the late Bob Fosse, Broadway's undisputed god of choreography, proud.
The plot revolves around Chicago in the jazz age and follows the rise of Roxie Hart, a housewife-turned-superstar.
When Roxie's lover, Fred Casely, played by Ben Rice-Townsend '05, decides to leave her and move on to the next woman, Roxie shoots him in the heat of feminine rage. Thus, her ascent to fame begins.
The musical gleefully winds through Chicago's underbelly, introducing the audience to the "Seven Murderesses of Chicago." Each of these woman have killed their respective lovers or husbands in cold blood, but proclaim with a smirk that they are not guilty, but rather victims of treachery.
The leaders of the pack are Matron Mama Morton, played by Liz Greenberg '02, a woman who, for a price, helps the women to milk fame and fortune out of their crimes, and her protégée, Velma Kelly, played by a dazzling Danielle Ivory '05, who finds her limelight stolen by Hart.
The press, a circus of eager entertainers ready to glitter their readers with tales of adultery and murder, turn Roxie's crime into a melodrama for the public to slurp up; they are fickle, abandoning their homemade stars for the next gruesome story. Roxie, however, discovers how to manipulate the system. She is showered with adoration and freedom, until finally, a bigger and better crime emerges, and she is forced back into the dreary life of an ordinary housewife.
Though it paints a very misogynistic portrait of devious, scheming and heartless women, the show is well-worth seeing. Featuring members of Princeton's illustrious dance companies and a cappella groups, Chicago is as flawless a performance as you get with amateur theater.
The dancing is sensational — high kicks, pointed toes, and Fosse's trademark jazz hands abound. The women in the cast are constantly posed in seductive moving statues with backs arched, chests thrust forward, heads cocked, legs in seemingly impossible positions, hips shaking, and arms flying from one interesting shape to another as their feet slide and tap around in sync.
The effect is a sparkling display that keeps the audience entranced throughout the entire performance thanks to Brandes's skillful choreography.
The vocal talent dazzles the ears as much as the dancing captures the eyes. The cast is Broadway-caliber, full of belters that manage, for the most part, to stay in tune at full volume.
Ivory, in particular, steals the show with both her vocal and acting abilities. She roars and growls out her lines with pizazz and character so beautifully and flawlessly that it is tempting to believe she is a seasoned professional rather than a first-year student.
She manages to put a healthy amount of attitude, sneering and raw sexuality into her voice without ever sounding unpleasant. One can expect a long line of deliciously done roles from this freshman.
Although Devin Sidell '02, performs Roxie Hart with another beautiful voice, it is Velma Kelly who rocks "Chicago." Sidell's performance, however, should not be underestimated; she tackles her role with flair. Greenberg's Mama Morton, freshman Matt Berner's Billy Flynn, and senior Rakesh Satyal's Amos Hart also deserve mention.
Greenberg is a powerful presence on stage with her full feathered boa and deep, throaty voice. She does a fantastic job of dominating the other women.
Berner is excellent as the murderess's sleazy, womanizing attorney. The only flaw in his vocal performance is that he could use a little more vibrato in some of the extended notes.
Satyal provides laughs as the sadly pathetic Amos Hart, who lets Roxie and Flynn manipulate and twist him throughout the show. Compassion and pity flowed from the audience during his solo, "Mr. Cellophane," in which he pleads for recognition from a world that trods all over him without noticing his existence.
The set for the show was very minimal, consisting of only a few tables and a stairway, but the jazz ensemble's placement on stage was a good decision, as it provided something of an atmosphere.
A few more props and levels might have added to the show, though, especially enhancing the dancing. The silhouette-like poses would have greatly benefited from being at different heights.
I would have also liked to see a greater range of lighting used. The lights seemed to stay at one level for most of the show, when they could have easily changed colors and brightness more often to highlight the scenes' different moods. The spotlight, though, is very nicely used, especially during "Mr. Cellophane," when it seems to run from poor, ignored Amos.
"Chicago" does a wonderful job of satirizing the American public's constant lust for bad news, its short attention span, the media's role in producing celebrity criminals who get away with murder, and the ease with which people can convincingly lie to avoid repercussions.
And while getting out this message, the production here at Princeton manages to pump out catchy song-and-dance numbers in a devious and wickedly sexy show.
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