Chicago

Spotlight have burst into 2023 like a round of machine gun fire with an incendiary production of Chicago.

A super talented cast under the tasteful and experienced eye of director Cilla Scott proves once again why the gap between professional and community theatre gets smaller every year. This production could easily play the Hayes or The Riverside and hold its own against any main stage company.

The story of two Chicago murderesses who are made into superstars by the media still holds up in this era of fake news and celebrity and the 1920s setting is a delicious melange of old and new.

Director Scott has gone back to the productions of the 70s and 80s I remember, and it works a treat. There’s a true sense of Vaudeville running through each number – and elements like the courtroom scene become funnier and more farcical than we have been used to in more recent productions.

Kristine Dennis (Roxie) and the stunning Tiffany De Luca (Velma) are both terrific and owe nothing to the many stars who have played these roles. Kristine has a lovely comic touch and is hilarious in her “dummy” scene, and Tiffany is an awesome triple threat who oozes charisma. Both are great vocally and great dancers.

Brad Kendrick just got better and better as the show wore on and truly made Billy Flynn his own by the time he got to “Razzle Dazzle ‘em”.

Nathan Skaines was endearing and delightful as Mary Sunshine and Joe Burke (Amos Hart) nailed Mr Cellophane (and the role in general) – though I still remember George Spartels in the original Australian production with the huge shoes that didn’t move as he leaned out over the audience.

Stav Giouzelis has all the right ingredients for a stunning Mama Morton. She didn’t quite stop the show on opening night, but I’d bet money she will do many times over in the month’s run.

The rest of the cast is no less impreesive. Clay English is a delight as the dastardly Fred Casely.

Nathan French, an impressive director in his own right, has great moments as the entire Jury. It’s always a pleasure to see his work.

Leilani Frost is a lovely versatile performer who brings real depth to Hunyak, and how lovely to see Sunny J and Liam Lockwood again - both great dancers with huge stage presence. All of the ensemble gave their all in exemplary performances, though it’s a shame Hannah Crowther wasn’t more front and centre as Mona, after her awesome performance in Little Shop of Horrors last year.

Shari Wilmer is a kick-ass musical director, and this time applies her skills to the vocal direction. And it really pays off - all the harmonies are impressive and vocals are spot on throughout

Paula Guild is a very talented choreographer. Taking on board Cilla’s vision she gives us the Fosse of Cabaret rather than Chicago. It’s stunningly recreated and executed but, on a personal note, I would have liked to see a little more Guild and a little less Fosse - you don’t realise just how repetitive those finger clicks are till you’re up close and personal (did I just say too much Fosse? Yikes!!!) Having said that, choreographer and dancers were brilliantly in sync.

Spotlight always put the C in class and the E in entertainment. So in demand are their shows, that their productions are often sold out (with extra shows added) before they even open. The answer is, they need a bigger theatre! And the volunteers (which is everybody) are exemplary in their commitment.

Every show at Spotlight has an X factor…Chicago included. That X stands for Xellence!

Coral Drouyn