‘Chicago’ a visual delight
‘Chicago’
WHEN: Performances are at 7:30 p.m. Thursday through Saturdays and 2 p.m. Saturday, Oct. 4, and Sundays through Oct. 12.
WHERE: Baton Rouge Little Theater, 7155 Florida Blvd.
TICKETS: Tickets are $23.
INFORMATION: Call (225) 924-6496, or visit http://www.brlt.org.
WHERE: Baton Rouge Little Theater, 7155 Florida Blvd.
TICKETS: Tickets are $23.
INFORMATION: Call (225) 924-6496, or visit http://www.brlt.org.
Samantha Smart shines in BRLT production of popular musical
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The writer of Ecclesiastes said, “Vanity of vanities; all is vanity.” Seldom has that thought been expressed with more glitz and style than in “Chicago.”
The story made famous in the 2002 film starring Renee Zellweger and Catherine Zeta-Jones is also a visual delight on the Baton Rouge Little Theater stage, where it opened on Friday. Although the vocals aren’t perfect, this is a big improvement over the last time BRLT took on such an ambitious song-and-dance production, “A Chorus Line,” which singing problems undermined in 2005. Michael Gorman both directs and choreographs.
A big reason is that some excellent singers such as Talia Aull and Rosalind Reynard are cast in nondancing roles. A bigger reason is that Samantha Smart can do both quite nicely.
Smart plays Velma Kelly, a vaudeville performer who was arrested for murdering her husband and sister after catching them having an affair. It’s the role Zeta-Jones had in the movie, and with the aid of some makeup, Smart’s eyes blaze almost as brightly as the Hollywood star’s. But that isn’t all she brings to this performance.
Her voice, whether in solos, bigger choral numbers or the delightfully ironic duet with Reynard, “Class,” is strong and pleasing, and her dancing is quite capable. Whenever Smart is on stage, no matter where the spotlight goes, it’s almost impossible not to be watching her.
She co-stars with Aron Coates, who plays Roxie Hart, an aspiring performer who is arrested for murdering Fred Casely (played by Leonard Augustus Jr.), a paramour who jilted her. She joins Kelly and several other accused murderesses in jail, where they encounter a 1920s Chicago legal system that is long on cynicism and short on justice.
Through prison matron Mama Morton (Reynard), they learn that the key to saving their lives — maybe even getting off scot-free — is to enlist the services of attorney Billy Flynn (Dan Henthorn), who is as much showbiz agent as a lawyer and tries his cases in the press. The only problem is that there is only so much room in the media spotlight at any given time, so Roxie and Velma have to compete for it.
The play revolves largely around Roxie’s story, and Coates handles the acting and dancing well. She isn’t nearly as solid a singer as Smart, but she gets by. The same can be said for Henthorn, who has an adequate but not extraordinary voice.
It’s a production with a lot of energy and high moments: Reynard singing “When You’re Good to Mama,” Aull singing “A Little Bit of Good,” Augustus in several song-and-dance roles and Larry Schexnaydre, who portrays Roxie’s boring husband, singing “Mr. Cellophane.” Cast members Rachel Assaf, Lollie Aulet, Natalie Bailey, Alexandra Barbier, Jesse Bryan, Samuel Bryan, Casey Bundick, Elise Cowan, Adam Gilbert, Rachel Lazar and Ernest Ourso Jr. contribute to several appealing dance routines.
The language and plot line make this play inappropriate for children.
The story made famous in the 2002 film starring Renee Zellweger and Catherine Zeta-Jones is also a visual delight on the Baton Rouge Little Theater stage, where it opened on Friday. Although the vocals aren’t perfect, this is a big improvement over the last time BRLT took on such an ambitious song-and-dance production, “A Chorus Line,” which singing problems undermined in 2005. Michael Gorman both directs and choreographs.
A big reason is that some excellent singers such as Talia Aull and Rosalind Reynard are cast in nondancing roles. A bigger reason is that Samantha Smart can do both quite nicely.
Smart plays Velma Kelly, a vaudeville performer who was arrested for murdering her husband and sister after catching them having an affair. It’s the role Zeta-Jones had in the movie, and with the aid of some makeup, Smart’s eyes blaze almost as brightly as the Hollywood star’s. But that isn’t all she brings to this performance.
Her voice, whether in solos, bigger choral numbers or the delightfully ironic duet with Reynard, “Class,” is strong and pleasing, and her dancing is quite capable. Whenever Smart is on stage, no matter where the spotlight goes, it’s almost impossible not to be watching her.
She co-stars with Aron Coates, who plays Roxie Hart, an aspiring performer who is arrested for murdering Fred Casely (played by Leonard Augustus Jr.), a paramour who jilted her. She joins Kelly and several other accused murderesses in jail, where they encounter a 1920s Chicago legal system that is long on cynicism and short on justice.
Through prison matron Mama Morton (Reynard), they learn that the key to saving their lives — maybe even getting off scot-free — is to enlist the services of attorney Billy Flynn (Dan Henthorn), who is as much showbiz agent as a lawyer and tries his cases in the press. The only problem is that there is only so much room in the media spotlight at any given time, so Roxie and Velma have to compete for it.
The play revolves largely around Roxie’s story, and Coates handles the acting and dancing well. She isn’t nearly as solid a singer as Smart, but she gets by. The same can be said for Henthorn, who has an adequate but not extraordinary voice.
It’s a production with a lot of energy and high moments: Reynard singing “When You’re Good to Mama,” Aull singing “A Little Bit of Good,” Augustus in several song-and-dance roles and Larry Schexnaydre, who portrays Roxie’s boring husband, singing “Mr. Cellophane.” Cast members Rachel Assaf, Lollie Aulet, Natalie Bailey, Alexandra Barbier, Jesse Bryan, Samuel Bryan, Casey Bundick, Elise Cowan, Adam Gilbert, Rachel Lazar and Ernest Ourso Jr. contribute to several appealing dance routines.
The language and plot line make this play inappropriate for children.
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