Chicago the Musical
Upstage launched in 2024 with Into the Woods, with a mission to tell stories that matter and present productions with meaning and relevance to the community. They are seeking to create theatre that reflects the world around us all. By using diverse casting and bold creative choices to challenge traditional norms and bring fresh perspectives to the stage.
Director Scott Hili says Upstage’s current production of Chicago the Musical is set in 1925, in a world of jazz, prohibition, and shifting societal norms. Yet, a century later, the themes feel unsettling familiar. In the roaring 1920s, sensationalist journalism was on the rise with stories of crime and scandal splashed across the front pages of the newspapers, turning ordinary people into infamous celebrities. Roxie Hart declares, “I’m a star! Not because of her talent, but because of her crime. It is a disturbing reflection of how easily fame can be manufactured. This is not just a relic of the past; it is reflected in many modern criminal cases.
Having viewed several of Scott’s shows before this one was no exception. The stage design featured an antique green set, with various pieces utilized effectively throughout the production. Most impressively, a large red curtain was dropped down from the fly tower, occasionally framing the actors.
Scott is also known for his beautifully designed and made costumes, sharing the costume design credit with Rebecca Turner for Chicago. Backstage must have been a hive of hurried costume changes. The costumes were amazing, and the audience was heard to remark on them.
The orchestra was very capably led by musical director Jess West, and the eeven pieces were exceptionally well balanced. Choreography by Sarah Cullen was also very good, and the cast performed their moves admirably.
Chicago is led by the two merry murderesses, Velma Kelly, played by Grace Elizabeth, and Roxie Heart, played by Tahlia Facey. Billy Flynn, the slick and charismatic defense attorney known for his ability to win any trial, was played by Ryan Purdy, and Mama Morton, the prison warden of the Cook County Jail, was played by Cathy Lord. The downtrodden husband of Velma, Amos Hart, was played by Daniel Kilpatrick, and the well-named Mary Sunshine was played by Flynn Francis, with Austin Moore as the MC. Every one of these cast members was excellent, so it is impossible to differentiate them. In fact, all the cast were very good. The Cell block ladies, dance troupe, and ensemble were first-rate, with Ryan Hughes being particularly personable as Fred Casely.
Congratulations to Upstage on Chicago the Musical.
Jane Court
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