By Hollie Reina
Looking for a way to kill those winter blues? Then look no further than the very murdery, super dazzling production of Chicago: A Musical Vaudeville presented by The Stage Door Theater in St. George.
This stage and screen musical classic based on the play of the same name by Maurine Dallas Watkins with Book by John Ebb and Bob Fosse, Music by John Kander, and Lyrics by Ebb is one of Broadway’s longest running American musicals. I have been looking forward to seeing Chicago ever since it was announced as part of The Stage Door’s 2018-2019 season. And boy did it live up to the anticipation.
“All that Jazz” sets the tone for the entire production, showcasing Fosse’s signature style and introduces the audience to a second murderess, Roxie Hart (Shellie Thomas). The ensemble cast is made up of very strong dancers (watch for them to dazzle in “Cell Block Tango”) and the choreography – also by Thomas – is spot on.
Set in Chicago, Illinois during the roaring 1920s when jazz music reigned, the story is a satire on the American criminal justice system and flaunts the idea of the “celebrity criminal” as it follows the headline grabbing stories of several murderous women. The play was based on the real-life trials of accused murderers Beulah Annan and Belva Gaertner that Watkins covered as a reporter for the Chicago Tribune.
The Stage Door’s production of the musical opens on a quintessential vaudeville scene featuring the famed vaudevillian Velma Kelly (Corinne Nelson) and a chorus of men and women (ensemble) singing arguably the show’s most famous song “All That Jazz”. The song sets the tone of the entire show and introduces the two main murderesses; Kelly and a chorus girl named Roxie Hart (Shellie Thomas) who both end up in the Cook County jail awaiting trial for their crimes of passion. Because the production, choreography, and the music are so well known, it was imperative, to me at least, that they get the opening number right. For my money, Nelson nails it on vocals – she has a powerhouse voice. Where she really shows her strengths in the musical is in her comedic timing and infectious personality.
As Hart, Thomas was ideally cast. Onstage she is simultaneously an adulterous vixen who steals Kelly’s thunder (and lawyer) and a sympathetic victim whose only “true” crime is a lust for fame. Though Thomas has many standout moments in the production, she is absolutely scene-stealing in “We Both Reach for the Gun.” It is this song where her skills as both a dancer and choreographer really shine.
Nelson and Thomas are backed by an incredibly talented supporting cast including Abe Hegewald as the smooth talking lawyer Billy Flynn, Barb Christensen as the “Countess of the Clink,” Mama Morton, and a vocally acrobatic, Mason Hardy as reporter Mary Sunshine. Each have moments of stage brilliance that made me want to pick up my chin off the floor – “We Both Reach for the Gun” (Hegewald), “Class” (Christensen and Nelson), and “A Little Bit of Good” (Hardy) – to name a few.
That said, the star of the evening for me is Trey Paterson for his sheerly magical portrayal of Amos, Hart’s witless and hopelessly in love husband. And I mean magical literally. Paterson, a local actor, puppeteer, and magician finds a way to ingeniously weave his gift for sleight of hand into “Mister Cellophane,” at once showing off his singing chops and his illusions. Beyond that single number, Paterson deftly plays the one character who is actually worth rooting for. I definitely felt sympathy for poor old Amos.
Led by Director Josh Scott, the show moves quickly and makes good use of The Electric Theater’s small stage. Sets are kept to a minimal and are apropos of the setting and era of the production.
The costuming and wigs are gorgeous – sexy but not overtly – and serve to enhance the actors and the show, just as all good costumes should.
It should be noted here that the show is rated the movie equivalent of PG-13 for fairly strong language, adult themes (adultery and murder), and sexual content. I have always loved The Stage Door’s willingness to push boundaries in southern Utah theater and I feel like Chicago pleasantly bumps against the boundaries without becoming vulgar.
Overall, the Stage Door Theater’s Chicago in St. George hits all the right notes. It is funny, entertaining, featured an all-star cast, has some delightful surprises, and, quite frankly, it really “razzle dazzled” me.
The Stage Door Theater presents Chicago: A Musical Vaudeville. Book by Fred Ebb and Bob Fosse, Music by John Kander, Lyrics by Ebb. Based on the play Chicago by Maurine Dallas Watkins.
The Electric Theater, 68 E. Tabernacle, St. George, Utah, 84770.S
Feb. 14-16, 21-23, Feb. 28- March 2, 2019 7:30 PM, Sat. matinee 2:00 PM
Tickets: $18.50-$21 Purchase tickets here.
The Stage Door Facebook Page
Chicago Facebook Event
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