University Theater is going to have a hard time topping its production, Chicago, which runs from Feb. 13–24. The show was well done on every level, which explains why the musical is sold out.
The play begins when Roxie Hart (Brett Williams), a down-on-her-luck chorus girl, murders her lover and tricks her husband Amos (Matthew Hogan) into taking the blame. However, when he discovers her ruse and turns her in, she’s sent to jail and left to her own devices to seek acquittal.
Hart and her fellow “merry murderesses,” most notably Velma Kelly (Morgan Piner), compete for headlines, sympathies, lawyers and favors, hoping to make it out ahead —and, of course, alive.
Like any good musical, N.C. State’s theater was a production, not just a play. Not just the actors shone—the entire crew of musicians, set and costume designers were on pointe.
The crew constructed the set beautifully. They kept it simple and yet managed to pack it full of interesting features. The stage was a neat, raised, hardwood floor arranged in levels, which were simple and perfect for a huge musical.
Cast members were able to present scenes, and on the two lower side stages, singers could belt out their solos on the slightly raised center. The lower back stage was almost always occupied by the huge cast, whether they were singing backup in a musical number or acting as extras to place the scene. The role of the cast in the background kept the energy high and set the mood.
The few details that were included were thoughtful and well done—elegant iron-work framed the set, and the bottom and sides of the stage included old-timey lights that might surround an actress’ make-up mirror, easily capturing the gritty, jazz-filled Chicago of the ‘20s.
The amount of costume changes that took place dur ing the production was absolutely mind-boggling, as well as the amount of effort that must have gone into each costume. Secondary dancers were decked out with feath ers and sequins, different colored suits and shoes, and every musical number had a new theme.
The time-period was also captured in the dresses of the main characters, and the f lapper style wasn’t forgot ten when it came to hair— each member of the cast was wearing a wig in order to give them a sleek bob.
If I have any criticism of the play at all—and I use criticism very lightly in this case—it might be only the costumes used for the num ber “Cell Block Tango.” The whole play is rather raunchy and owns the characteristic well, but the leather and gar ters for that particular num ber didn’t fit the sarcastic, righteous, nose-in-the-air class it seemed to exude. That is not to say that they weren’t well put together or that the actresses didn’t look… alluring in them.
The music was incorporated into the production flawlessly. As its being held in Titmus Theatre, which is rather small for a large production, I had wondered where the band would sit, and University Theatre handled that with seeming ease. The band pit was placed between the main and back stage, allowing the musicians to actually sit in the middle of the action (though slightly below it so they weren’t too distracting).
This allowed every note to be heard and added the interesting experience of being able to watch the musicians as the play progressed. Not only is live music entertaining, several times while actors or actresses were able to sing to and interact with a particular band member.
Unfortunately, the small space did limit the number of musicians. I would have loved for the production to be able to incorporate a larger band, but each musician that they did include played so well the production didn’t seem want ing at all, and all the songs felt full for such a small band.
The actors and actresses brought it all together, es pecially the extras. The en semble seemed to be onstage almost every scene, partici pating in huge, wonderfully choreographed dance num bers that took place on sev eral stage levels and required every single actor. The cast filled up the space so ener getically it was clear they were pulling from Broadway traditions.
The main actors and ac tresses all did excellently, but Piner, a senior in marine and coastal natural resources, playing Velma Kelly, a night club singer who murdered her sister and boyfriend for having an affair, really stole the show. Piner’s singing was divine, and she always stayed snarky, sexy and in character.
Andrew Enloe, a junior in communication playing the unscrupulous lawyer Billy Flynn, and Matthew Hogan, a senior in film studies play ing Amos Hart, the stepped-on husband of Roxie, were both wonderful as well, fill ing up the stage with oppo site but equally entertaining characters.
Overall, attention was paid to every aspect of this production, and it certainly shows.
Matthew Hogan, a senior in English and film, plays Amos Hart and sings “Mister Cellophane” while looking down at his hands to make sure he is visable.
