Who says murder is not an art?
This week, Broadway Series South brings Chicago to Raleigh Memorial Auditorium. This tale of murder, greed, corruption, violence, exploitation, adultery and treachery brings the audience to the roaring ’20s when a scandal such as this actually took place.
The characters of Roxie and Velma are based on two actual accused murderers — Beulah Annan and Belva Gaertner. In 1924 in Chicago, Annan (Roxie) was accused of killing an “intruder,” Harry Kalstedt. Annan called her husband to report that she had killed Kalstedt after he “tried to make love” to her.
Meanwhile, Gaertner (Velma) was a cabaret singer charged with killing her husband. Realizing the sensational appeal of the stories, Reporter Maurine Watkins brought the cases to the front page of the Chicago Tribune. The supposed pregnancy to expedite the trial, the manipulative lawyer and the acquittal of Annan and Gaertner fed into the story of Chicago.
Watkins later turned the experience into a comedy titled Chicago that ran on Broadway in 1926, and these original productions of Chicago inspired the musical. After 70 years, Chicago continues to be a “class” act.
The mega-hit musical Chicago involves a tale so enticing that it could not be contained in its time; or, for that matter, in this country. The production has played in 19 countries worldwide, secured 50 international awards and been viewed by 12 million people worldwide.
“All that Jazz” alone has been sung more than 250,000 times in nine different languages. The number was even performed at the second inauguration of Bill Clinton in 1997.
Chicago will be performed through this weekend at Raleigh Memorial Auditorium.
This is not a show for the easily offended. Bob Fosse, the original choreographer, designed sexually suggestive dances for the cast in which intimate partnering is a must (with multiple partners). The show even features a ‘menage a quatre’ on a ladder.
Michelle DeJean (Roxie) is a magnificent triple-threat — a clever actress with an amazing voice and stage presence that, unfortunately, pushes Terra C. MacLeod (Velma) out of focus.
Carol Woods (Matron “Mama” Morton) milks her scenes, enhancing “When You’re Good to Mama” by showcasing her vocal range.
The ensemble executes Fosse’s style well as it drips with sex appeal, and the “Cell Block Tango” has a fierceness that rightfully brings the cast’s sanity into question.
The overall energy of the show is increased by the presence of the band onstage. The musicians are interactive with the performers and add to the comedy of the show.
If you have only seen the movie, you are missing out. The stage suits the show appropriately because it was conceived for theater. Not only is the play worth viewing, it is worth indulging in the talent found in this performance.
The performance runs through Sunday with its last show at 7 p.m. Prices vary, and tickets can be bought online through Ticketmaster or by calling the BTI Center for the Performing Arts box office.
