Ensemble of Chicago (Toronto Musical Productions) in rehearsal
Other than the 2002 film, which I barely remember, this community theatre production of Chicago, presented by Toronto Musical Productions, is my first-ever experience of it! Relatively familiar with the numbers and having spent many years considering it not one of my favourites, I have to admit, seeing it staged, I dig it. The John Kander (music) and Fred Ebb (lyrics) musical with a book by Ebb and Bob Fosse, is a giddy satire of American sensationalism in self-aware cabaret form. Aside from the iconic Fosse of it all, the vaudevillian framing device with its Brechtian trappings—the on-stage band playing people off at request, “My exit music, please”—allows everybody to be in on the joke.
And, of course, “everyone loves the big bambooz-a-ler.”
Set in the titular city of the 1920s, amidst gangsters and loose morals, the primary friction is between Roxie (Jessica MacNeill), a scheming housewife with showbiz dreams, and Velma (Mary Bowden), an established, cocky star—both serving time for murdering their lovers and trying to outshine each other in the media circus that surrounds them. Their egos are massive, flooding any real estate where a conscience might find purchase. None of the imprisoned murderesses we meet are remorseful, a fact made abundantly clear in the perennial staple of musical theatre fandom: “Cell Block Tango.” Though it is a consistent crowd favourite and a number I’m generally fond of, it’s not a highlight of this production. The unapologetic and ghoulishly self-serving lyrics are always fun, but a problematic sound mix prevents much of the vocals from being properly appreciated over the score, which overwhelms.
Though this issue persists through much of the production, there are a few numbers that are more properly balanced. A good example is “Mr. Cellophane,” where Ted Powers’ voice is crystal clear—the pinnacle of his broad, thoroughly endearing portrayal of Roxie’s sad sack husband, Amos. The frumpy cardigan and flat cap frame his woebegone persistence well. All of the costumes—by Michael Harvey, Judy Gibson, Janet Flynn and the cast—convey character, sell the period, and are often quite gorgeous. My favourite is the glitzy, iridescent jacket Charlie Davidson sports during the show-stopping “Razzle Dazzle.” This is also the peak of Davidson’s portrayal of flashy lawyer Billy Flynn, who oozes charm throughout.
Ngaio Potts’ Mama Morton is suitably mercenary and lascivious, her unabashedly carnal ode to, uh, reciprocal prison relations, “When You’re Good to Mama,” hits all the campy beats I needed it too, though, as stated earlier, I wish I could have heard her better. Michelle Baynton’s Mary Sunshine, the perky and optimistic lead reporter, provides some satisfying laughs in “A Little Bit of Good.”
Oh, yes, and the central pair, MacNeill and Bowden, are immensely charismatic and contrast each other well. Bowden’s statuesque, smooth Velma is a visually striking foil for MacNeill’s shorter, scrappier diva. The apt casting and sparing art deco flourishes define director Jon Alexander’s staging. Isobel “Issy” Truman’s choreography is Fosse-esque without feeling too flatly derivative. You need those iconic gestures, of course, it’s part of the package. Though sometimes a little rough around the edges—and often because of those quirks—the numbers are genuinely charming. I think my favourite is “We Both Reached for the Gun,” in which Flynn manipulates Roxie like a puppet on his lap as he leads her through a phoney testimony which the media, an enabling chorus, just eats right up.
Sensible, dynamic staging and ample talent are showcased here and I was, for the most part, drawn right in. The production’s biggest weakness is its awkward, draggy scene transitions. Tightening those up would greatly improve the overall impact. It’s ok for scenic elements to be swooped off to the side while a new scene starts. The audience should never feel like they and the cast are waiting for the lights to come up.
If you’re in the mood for sassy and outrageous shenanigans, this Chicago should satisfy. I certainly had a good time.
Chicago
running June 20 to 28, 2025
Alumnae Theatre (70 Berkeley Street)
running time: 2 hours, 20 minutes (with intermission)
Mary Bowden and Jessica MacNeill and from Chicago (Toronto Musical Productions) in rehearsal