CHICAGO IS EVEN
HOTTER IN THE DESERT

Desert Theatricals just wrapped up their run of Chicago at the Rancho Mirage Amphitheater, and if you weren’t there this past weekend, you truly missed out on a spectacular night under the stars. It’s one thing to see this show in a traditional theater, but there’s something about the desert air that made the “razzle dazzle” of the 1920s feel even more electric.

Helmed by the powerhouse duo of Ray Limon and Joshua Carr, their chemistry as a creative team was evident in every moment of show. Mr. Limon didn’t just direct; he channeled the soul of Bob Fosse. The choreography was crisp, athletic, and had that essential “cool” factor that Chicago demands. Mr. Carr, music director, led the charge from the conductor’s podium, keeping the 12-piece orchestra tight and punchy. Having the band right there on stage added a layer of energy that a recorded track simply can’t touch.

Based on real-life high-profile crimes in 1920s Chicago, this 1975 musical remains a sharp-edged satire on the corruption of the criminal justice system and the cult of the “celebrity murderer.” The story centers on Roxie Hart (Michelle Estrada), a wannabe vaudevillian who kills her lover and convinces her husband, Amos (Glenn Liggett), to take the fall—until he realizes he’s been duped.

Once behind bars, Roxie meets her rival, the established star Velma Kelly (Tomasina Abate). Both women fight for the front-page headlines and the services of the slickest lawyer in town, Billy Flynn (Charles Herrera). With a legendary score by John Kander and Fred Ebb, and a style defined by the iconic, minimalist choreography of Bob Fosse, Chicago remains a provocative look at how easily the truth can be twisted into a “razzle dazzle” show for the masses.

The visuals were top-tier, thanks to Gavan Wyrick’s moody lighting and Leslie Upp’s costumes, which felt both period-accurate and perfectly theatrical. Even the sound, handled by Ilana Elroi, was crystal clear—no small feat for an outdoor venue.

The talent on stage was stunning. Ms. Abate was a revelation as Velma Kelly. From the moment she stepped out for “All That Jazz,” she had us lapping up her performance—as technically brilliant as it was charismatic. Playing the fame-hungry Roxie Hart, Ms. Estrada was the perfect foil. She brought a wonderful sense of comedic timing and a “dreamy” quality to her pursuit of the spotlight. When she and Abate finally teamed up for the finale, the sparks were flying.

Every bit the silver-tongued devil Billy Flynn, Mr. Herrera’s vocals were smooth as silk, making it easy to see why the ladies of the Cook County Jail would fall for his charm. Speaking of the jail, Valerie Monroe nearly stole the show as Matron Mama Morton. Her powerhouse voice was tailor-made for “When You’re Good to Mama.”

Glenn Liggett brought a touching, bittersweet humor to Amos Hart—his rendition of “Mr. Cellophane” was a real crowd favorite. Another standout was Noah Wahlberg with a gender-bending turn as Mary Sunshine that featured impressive counter-tenor vocals.

The ensemble was the glue that held the whole thing together. Danny Hansen, Mia Mercado, or Charlotte Upp hit those precision Fosse poses, and the rest of the talented crew performed with a level of stamina and style that kept the energy high from start to finish—John Corr, Brenna Delay, Gioia Mia Cali, Jessica Lenz, Cole Forsythe, and Patrick MacDonald.

It was a fantastic weekend for Coachella Valley theater, and Desert Theatricals proved once again why they are a staple of the local arts scene.

photos courtesy of Desert Theatricals

Chicago
Desert Theatricals
Rancho Mirage Amphitheater, 71560 San Jacinto Dr, in Rancho Mirage
Fri, Sat & Sun at 7:30 (gates open at 5:30); chairs are provided
played March 13-15, 2025
for tickets, visit Desert Theatricals

next up for Desert Theatricals: Cabaret April 17-19 at 7:30

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