Chicago The Musical in Singapore: Sultry, Sexy, and All Heated Up
PUBLISHED February 13th, 2017 06:00 am | UPDATED July 25th, 2024 03:02 pm
“Ladies and gentlemen. You are about to see a story of murder, greed, corruption, violence, exploitation, adultery, and tragedy.”
And so it begins, rushing along from the opening bars’ muted trumpet solo into a full-on vaudeville tune by the 11-piece big band.
Most musicals, Broadway or otherwise, keep their musicians down below in the orchestra pit, hidden from the audience. Chicago does things differently, choosing to showcase the band up front in full view, in a setup reminiscent of a jury box, no less. In fact, you could say that the entire production set is stripped down to bare bones – minimal costuming, a couple of chairs, and the band on stage, of course.
This musical doesn’t rely on dragons and levitation as Wicked did, on helicopters as Miss Saigon did, or on elaborate barricades as Les Miserables did. What it does rely on, is more simple – great music; music that won a total of six Tonys, two Oliviers, one Grammy, two Baftas, and six Academy Awards.
Set amidst the dazzling decadence of the 1920s, Chicago is the story of Roxie Hart, a nightclub singer who dreams of vaudeville stardom, but ends up murdering her on-the-side lover after he threatens to walk out on her.
“He had it coming, he had it coming. He only had himself to blame.”
In Lunchbox Theatrical Production‘s cast, Lindsey Tierney plays the young diva attempting to escape conviction by duping the public, the media, and inevitably her cellmate, the double-murderess Velma Kelly (Genevieve Nicole).
To achieve this, she hires Chicago’s slickest criminal lawyer, the handsome crooner Billy Flynn (Matthew Goodgame) to talk their way out of the malicious crime, spinning sensational headlines that wouldn’t be out of place in the tabloids of today. You could even say that Billy is the original purveyor of ‘alternative facts’ before Sean Spicer.
It is this universal tale of fame, fortune, and all that jazz that encapsulates everything Broadway and the West End is about – featuring one show-stopping hit after another. As an audience, we hear first hand the glorious score by Bob Kander and Fred Ebb, brilliantly overseen in this tour by Rob Fisher and executed by the power-packed live band flown in just for the show (musicals staged in Singapore would typically employ local session musicians).
And damn if the dancing isn’t riveting and sexy – ingeniously choreographed by Ann Reinking to the essence of Bob Fosse’s original moves. It takes an exact blend of singing, dancing, and acting chops to pull off the voluptuous Velma, and we see Genevieve nailing the role from the first notes in the Overture, leading into All That Jazz. She certainly carries the character with great sass, but we can’t imagine it’d be quite as sensual without the talented company of lithe-limbed dancers behind her.
“If you’re good to mama, mama’s good to you.”
Lindsey as the self-absorbed Roxie generally holds her own with a lifting voice, bringing out the comedy in her character with a hilariously infectious attitude in turns of We Both Reached for the Gun and Roxie; then compellingly poignant in Funny Honey.
And as the cold-hearted lawyer Billy, Matthew Goodman effortlessly glides his way – albeit like a shark – towards the victory of his clients. Truly a playboy with the smoothest glib tongue, we’re particularly impressed with his powerful final note in Razzle Dazzle, sustained for what must have been at least 15 seconds.
For a story about women in jail – in the 1920s no less – for murdering their partners, Chicago is surprisingly hilarious and fun, never failing to stir up laughter in the audience at any given time. Past the distraction of big sets and fancy scenery, this musical is just that – about excellent music and libretto. Sins and sinners become ambiguous in this timeless classic, as we start rooting for the two alluring women right to the end. Which begets the question. Are criminals any more forgiveable if they’re beautiful?
Chicago is running until 26 February 2017 at MasterCard Theatre – Marina Bay Sands. Tickets are priced at $65, $95, $115, $145, and $175, available via SISTIC.
