Theater Review: CHICAGO (Throckmorton Theatre, Mill Valley)

CHICAGO: IT’S A RAZZLE DAZZLE HELLUVA SHOW

How did Throckmorton Theatre in downtown Mill Valley get such a stunning production of Chicago? This isn’t Broadway, or is it?

With the flash of a giant overhead marquee, a mute trumpet oozing honeyed notes, and a stageful of beautiful bodies in racy outfits, Chicago is one helluva town—and show!

This Throckmorton production nailed the jazz age story with spot-on timing, soaring vocals, and precision dancing. It will blow you away—as it did for this reviewer—to realize that the entire cast are teens. They hail from high schools around the SF Bay Area (only one a college freshman) and have confidence earned by years on the stage. These are the performers you will see picking up a Tony Award in future years. Kudos to Director and choreographer Erin Gentry for polishing these young actors into such stars. And props to Artistic Director Lucy Mercer for shaping the future faces of entertainment.

American writers John Kander and Fred Ebb based their book on the 1926 play written by a Chicago Tribune reporter Maureen Watkins. Watkins was assigned to cover the trials of female defendants accused of murder. In the 20s, rival Hearst newspapers hired “sob sisters” to report on the women’s back stories, true or not. Not unlike the O.J. Simpson trial’s media circus, the more sensational the story, the more papers were sold. Press and public eagerly bestowed celebrity status on attractive and feminine defendants who usually won “not guilty” verdicts by all-male juries. Chicago presents a cynical view of our court system, criminal celebrity, and manipulation.

Watkins’ play was set to music in 1975 with groundbreaking dance moves by the legendary Bob Fosse and encouragement from his wife Gwen Verdon. His moves, both fluid and startlingly sharp, set the standard for intricate moves and “jazz hands” imitated today.

You will be delighted with the key roles, which are double-cast. I’m sorry I didn’t see the alternate cast, rumored to be equally impressive as those on opening night (photos are of both casts).

Merrill Cover as Velma opens with “All That Jazz” moving like a slinky cat and singing with seduction. Autumn Galatti channels Roxie with a delightfully ingenue voice. Jail matron Bella Martinez powers through “When You’re Good to Mama” backed up by jungle drums. You may forget about Richard Gere’s role as lawyer Billy Flynn when you hear Finn Davis sing “All I Care About is Love” and catch his fine footwork. Tallula Rice as Mary Sunshine, the gullible reporter, has an astounding operatic voice. She holds a high note for so long, the audience gasps and applauds.

The “Merry Murderesses” are double cast and doubly diabolical. Merrill Cover, Riley Cover, Madeline McKee, Elyse Faherty, Brigitte Whittle, Brooklyn Saputo and Reyes Lake pound out “He had it coming” in their “Cell Block Tango.” Guilty as charged?

Musical Director Nick Brown’s onstage band clearly enjoys themselves as they are right in the middle of the action. Several actors who are not double cast perform splendidly in each production, including Tony Morales as Roxie’s gullible husband Amos. He is so good that the audience moans in sympathy when “Mr. Cellophane” exits the stage without musical accompaniment.

Perhaps the most impressive of all are the dancers, choreographed by Reba Gilbert with guest choreographer Gina Chapman; they are absolutely spot-on in their precision. The costumes, designed by Amie Schow, are racy and skimpy and perfect for young bodies. Some of the gals perform splits, others kick over their heads, all the while moving shoulders and hips and often singing. It’s a lot to watch and all astoundingly entertaining.

The set designed and built by Jean-Paul LaRosee takes full advantage of the Throckmorton stage and side stage balconies. The vaudeville feel is amplified by the marquee signs; the upper stage dramatically silhouettes a jail cellblock. Choreography overflows the stage and spills into the audience.

This reviewer has seen Chicago several times since its Broadway debut. Without a doubt, this Throckmorton Theatre production razzle dazzled me. Make a visit to Chicago. It’s a “don’t miss” town and show.

photos by Fred Larson and Michael Pringle @ illumigarden