"An ambitious mounting of a Broadway staple, TMP’s 'Chicago' has got plenty of razzle but is somehow missing the dazzle."


‘Chicago’ has been a Broadway and West End staple for decades. Its flashy productions and high energy dancing and singing have brought audiences to theatres in throngs since its debut in 1975. Since then, rotating casts of celebrity headliners (Ann Reinking, Bebe Neuwirth, Gwen Verdon, Chita Rivera, Brooke Shields, Pamela Anderson, Alyssa Milano, Wayne Brady, Billy Rae Cyrus, Cuba Gooding Jr.,) have made this show a crowd-pleaser that’s here to stay. No wonder it’s the second longest show to run on Broadway (Phantom of the Opera being first).

Toronto Musical Productions, in its first production since Covid, sets out to capture the sultry, satirical, sinful and jazzy style that this production demands and, for the most part succeeds. Unfortunately, some wobbly direction, inconsistent performances and woefully slow scene transitions keep the electricity from buzzing.

The story takes place in Chicago during the Roaring Twenties, a period known for its vibrant nightlife and jazz music. We meet Roxie Hart (Jessica MacNeill), an aspiring chorus girl, and Velma Kelly (Mary Bowden), a fading vaudeville star, as they navigate the town’s criminal justice system. Both women are on trial for murder and compete for the attention of slick lawyer Billy Flynn (Charlie Davidson), who promises to turn them into media sensations. There’s no apology here for exposing the corruption in the justice system and the concept of the “celebrity criminal”. Sound like anyone we know in media today?

Artistic Director Jon Alexander, making his directorial debut, has chosen the traditional Broadway setup – a bare stage except for a 7-piece band upstage flanked by two staircases, few set pieces and even fewer props. It’s bare bones staging and that’s okay. It’s a tight squeeze for the cast of 16 but it never feels over-crowded. One quibble is the two large panels at the front of the stage with the Chicago logo painted across them that act as a “curtain” of sorts. The appearance of stage crew pulling them aside rather sluggishly under cover of darkness makes for a silently awkward start to the show. These panels with CHIC and AGO remain on either side of the stage in full view and are a distraction. Rotating them to reveal images appropriate to the show – musical notes, wanted posters, newspaper headlines – would perhaps be a stronger choice, allowing for more seamless integration into the show.

Back stage personnel emerge from the shadows too frequently and slow the pace. One wonders why the cast can’t move pieces on and off. Most of the time they scurry back and forth from the wings empty-handed. Seeing stage crew during the show removes me from the world of the play and disrupts continuity.

I’m a big fan of having actors entering the stage via the auditorium but the small space and availability of only one set of stairs make Mama Morton and Amos’s entrance less than grand and demands a lot of audience neck stretching.

Isobel Truman’s choreography is a delight! The legendary Bob Fosse directed and choreographed the original production, and his style is strongly identified in this show. Truman honours this with jazz hands and Fosse fingers but she isn’t a copycat. She puts her own spin on every move, every gyration. I’m not sure how much dance experience the company has but most move confidently and comfortably. Not sure whether it was her decision or director Alexander’s to feature 9 murderesses instead of six in “Cell Block Tango”. A curious addition as there weren’t enough cell “bars” for each murderess and several had to resort to miming their confinement.

Musical Direction under the blazing baton of Michael Grieco is on point! His jazz band is fabulous (but often too loud) and effortlessly embodies Kander and Ebb’s swoony, sleezy, jazzy vaudeville style score. Classics “All That Jazz”, “Cell Block Tango” and “Razzle Dazzle” were particularly well played.

Wardrobe/costuming by Michael Harvey, Judy Gibson, Janet Flynn and the cast put themselves in the traditional sexy short black dresses, skirts, T-straps, fishnets and heels you’d catch in the Broadway show today. Billy Flynn’s bespoke blue three-piece pinstripe suit looks sharp, and Amos’ mechanic’s overalls and newsboy cap are appropriately bland and non-descript. Apart from missing a black suit on Mama Morton, the rest of the ensemble looks right for the era as reporters, policemen, detectives and judges.

Marc Siversky’s lighting design is sufficiently moody with some nice colour accents. Overall stage coverage is good but there are shadowy areas at the sides in some large group numbers like “Cell Block Tango” and “All I Care About Is Love”, while Amos’, Velma and Mama’s scenes on the downstage stairs are too dim. Mack Flynn’s sound design needs a stricter balance. That’s a small brass band with a big sound in a small venue with voices and instruments competing for dominance. Sadly, body mics weren’t always working, and some dialogue is lost.

Performances run the gamut. As Roxie Hart, Jessica MacNeill is marvelous. With her bright face, energetic dancing and powerful voice she’s captivating from the get-go. In “Funny Honey” and “Roxie” she oozes charm and charisma and shares it abundantly. As Velma Kelly, Mary Bowden is smart, confident and assertive but doesn’t quite share MacNeill’s stage appeal. Velma needs to own “All That Jazz” cementing herself as a cabaret superstar. Bowden isn’t quite there. It’s an admission of killing her husband and sister, who were supposed to be part of the act as well. Bowden lacks pizzazz and the chemistry between the two “sisters in sin” isn’t always believable.

As Amos, Roxie’s faithful but simple husband, Ted Powers ambles and shuffles his way across the stage in a one-dimensional monotone. It’s a tricky role, to be sure. Although Amos comes across as a poor dumb schlub he still needs to bring colour and appeal for the audience. His “Mister Cellophane” decries how he’s unappreciated and invisible to everyone, including Roxie. It’s a sad lament from a sad character who is, quite honestly, the only genuine character in the entire show. Powers needs to find more levels, more depth and more dimension, to elevate his performance from humdrum to first-rate.

As Billy Flynn, Roxie and Velma’s slick and corrupt lawyer, Charlie Davidson sings with a mellow vibrato but misses the mark as a smooth-talking sophisticated manipulator. His performance is too restrained when what’s needed is more of a charming, flamboyant and narcissistic con man.

Matron Mama Morton, the warden of the Cook County Jail who doubles as a talent agent, is also regrettably downplayed by Ngaio Potts. She’s supposed to be the comic relief – more of a corrupt businesswoman than a nurturing figure. In “When You’re Good to Mama” she needs to sing proudly of providing Velma with favours and protection in exchange for money and other bribes. While Potts sings the part just fine, she needs to amp up the fun in her interpretation.

“Chicago” is as much social commentary as it is glitzy entertainment. It’s been an enduring success due to, among other things, its compelling narrative, memorable music, and reflection on societal issues, particularly the allure of fame, greed, and media manipulation. Congratulations to Toronto Musical Productions for taking on this enormous classic. A bit more spit and polish on character development and relationships would certainly give the show the dazzle it deserves.

Running time: approx. 2 hours with one intermission.

The production runs until June 28 at the Alumnae Theatre
70 Berkeley St. Toronto, ON M5A 2W6
For tickets call the Box Office at 1-414-364-4170 or email TorontoMusicalProductions.ca

Toronto Musical Productions Presents “CHICAGO” at the Alumnae Theatre
Directed by Jon Alexander
Choreographed by Isobel Truman
Music Direction by Michael Grieco
Wardrobe/costuming by Michael Harvey, Judy Gibson, Janet Flynn and the cast
Lighting designed by Marc Siversky

With: Mary Bowden, Jessica MacNeill, Charlie Davidson, Ted Powers, Michelle Baynton plus other local community artists in the ensemble.