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#Razzle dazzle chicago how to
No changes were made to this image.įor more content including uni news, reviews, entertainment, lifestyle, features and so much more, follow us on Twitter and Instagram, and like our Facebook page for more articles and information on how to get involved. In-article image courtesy of Emily Fletcher. Definitely one not to miss.įeatured image courtesy of Alex Watkin. Regardless, the overall mood of the performance had all the sensual, slick, and often slimy feel associated with the Chicago crime world thanks to some flawless and perfectly-toned cast performances. Perhaps it was the strength of the performances throughout the night that left the finale number “Hot Honey Rag” feeling somewhat lacking, the sparkle of the added background feeling cheap and underwhelming. Davina De Campo also offered some delightful moments as Mary Sunshine, with the combination of soaring high soprano and comedic twists providing an unexpected addition to this often unamended musical. Joel Montague’s Amos Hart was particularly notable, with the entire audience on board with his endearing and heartbreaking performance in “Mister Cellophane”. She seemed most comfortable alongside Scott’s Velma Kelly in “Class “, with shared nods being the only thing needed to choreograph this reminiscent duet.
Although having little movement around the stage to command presence, her voice sold the performance. Sinitta wasn’t only there in name, her ease on stage was apparent the second she stepped out with a powerful performance as Matron ‘Mama’ Morton in “When You’re Good to Mama”. However, the show really found its flow in the second act, settling in with the wonderful on-stage band and then followed by a perfectly constructed and comedically-timed court scene, showing the strength of the cast outside of the musical numbers as well. But, disappointingly, on this particular night, there were some moments of sound imbalances, with the orchestra drowning out some of Djalenga Scott’s opening number as Velma Kelly. Moments of the first act are unfortunately a little inconsistent the highlight is certainly Faye Brookes’ and Darren Day’s ventriloquist act in “We Both Reached for the Gun”, demonstrating exceptional coordination and seemingly effortless timing. The constant haze of smoke and the on-stage band also add to the feel of a Chicago jazz club.Įxceptional coordination and seemingly effortless timing The simple staging, minimal costume, and relatively small cast feel right for the classic jazz style of both dance and song. Throughout this performance at Nottingham’s Theatre Royal, the nuances of Bob Fosse’s original and iconic choreography shine through, with phenomenal strength throughout the ensemble cast. In short, Velma razzle dazzles.One of the longest running shows on Broadway, the great musical classic Chicago returns to the stage once more! The show is at the Theatre Royal in Nottingham throughout October and touring the UK until July 2022. Her voice is power packed – every line crystal clear. She doesn’t skip a beat while doing those ‘buwis buhay’ calisthenics on the wooden chair and singing at the same time. Her nimble feet land on the floor just at the right time.
Cellophane,” the weakling who lets people and situations run his life.īut Velma is clearly the star of the show. Jacob Watson as Roxie’s husband Amos Hart turns in a sterling performance as “Mr. Razzle dazzle em And they ll never catch wise Give em the old Razzle Dazzle Razzle dazzle em Give em a show thats so splendiferous Row after row will crow vociferous Give em the old flim flam flummox Fool and fracture em How can they hear the truth above the roar Throw em a fake and a finagle Theyll never know youre just a bagel.
The setting of “Chicago” is just as showbiz – complete with press conferences and paparazzi hounding Roxie everywhere she goes.Īlthough the story is based on the real-life trials of two women, the make-believe feeling doesn’t wane because most everything happens within the confines of the theater.īut it might as well be politics, where intrigues are deadlier (yes, political maneuverings can kill).
Velma just seethes in her wooden, straight-back chair.
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Unlike the iconic Lavinia character in the movie “Bituing Walang Ningning” who told Dorina, “You’re nothing but a second-rate, trying hard copycat, Velma doesn’t throw wine on Roxie's face. You know Mama is decrying crass ambition that drives newbies to do everything – however foul – to be a star.
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