Chicago! What A Blast - Review Part 3 Act 1

by MaryD


ACT 1

There is an air of anticipation from the crowd who have assembled in the theatre (that I'm told is called "in-the-round" because the seating is surrounding the stage. It's VERY close and wherever you sit, you will have a great view (In my opinion the best place was Block C Row C - The advantage of seeing it so many times was that I moved around and could see it from every angle and I've tried the various seating arrangements. I didn't see the show from the Balcony or the Gods areas)

An announcement is made that photography and video are not allowed which pretty much everyone listens to (or you hope they do). A few minutes later (for those not expecting this) the lights go out with an almighty bang. This produces two reactions:

-  Giggling from people who have already seen the show and were aware of what was to happen.

-  Gasps and laughter (after) from people who were caught off guard and a few expletives. I've sat next to a few people who spilled drinks on themselves and on me after this has happened.


"Overture" - Orchestra and Intro
Sandra Rasmussen-- Tallulah

Tallulah, smoke in hand, walks out into the spotlight,  a mic comes down from the sealing. She proceeds to tell everyone:

Welcome. Ladies and Gentlemen, you are about to see a story of murder, greed, corruption, violence, exploitation, adultery, and treachery - all those things we all hold near and dear to our hearts.

She then proceeds to dap dance whilst holding a gun. She points the gun in all directions before she stops and turns to...

 

"All That Jazz" - Velma Kelly and Company

Lucy Lawless, Lavinia Uhila, Rebekkah Schoonbeek, Hannah Katie Swift, Stephen Butterworth, Mike Edward, James Luck and Amanda Billing at the end


Image635236751991822677In the mid 1920s in Chicago, Illinois, Velma Kelly is a vaudevillian who murdered both her husband and her sister when she found them in bed together. She welcomes the audience to tonight's show ("All That Jazz"). Meanwhile, we hear of the chorus Roxie Hart's murder of her lover, nightclub regular Fred Casely.

 

The anticipation is this number - the music starts and the spotlight falls on a figure standing left hand side of Block A. She's wearing a snug fitting bodice, stockings and garter belt, a stole is around her neck and she's wearing sunglasses. There were various reactions to this from the crowd - depending if Lucy fans were in attendance and how vocal they were - they ranged from a giant roar to very subdued excitement to 'is that Lucy Lawless?"

Lucy begins to strut the stage wearing her sunglasses (why? I have no idea but it looks great) in what I can only describe as catlike and very sexy - when she stops midstage, holds her hand up towards the musicians and then...
 

Come on, Babe Why don't we paint the town? And All That Jazz, I'm gonna rouge my knees, And roll my stockings down

And All That Jazz.'

she faces Block C and proceeds to mimic doing that and also vomiting (that was introduced into the later shows after I came back for the last shows). She then turns to Block B and gyrates, goes down on the floor where she proceeds to pure like a cat (that's the only way I can describe this without writing an explicit sexual metaphor all the while singing: Start the car, I know a whoopee spot, Where the gin is cold, but the piano's hot (there is a roar from the crowd when Lucy spreads herself on the stage), It's just a noisy hall, Where there's a nightly brawl, And All

That Jazz!


She gets up and goes to Block D and points to Block A where the other dancers have arrived.

Hannah Tasker-Poland is sitting on Mike Edward's head (not kidding that is where she was and my first clue to how this show would pan out), They are joined by: Lavinia Uhila, Rebekkah Schoonbeek, Katie Swift, Mike Edward and James Luck

They then proceed to sing and dance to extraordinary choreography. Amanda Billing (Roxie) with Mike (Fred Casaly) are cavorting over around Block A, they get all hot and heavy. Velma assures them Roxie's husband is not at home and then the fun starts. Roxie shoots Fred and the entire stage vibrates with the dancers - I was in Block D and I could feel the vibrations (I was in the front row).

Roxie is squatting near the now dead Fred, Velma is looking on with a sneer and Roxie says "Shit...I gotta pee" and the lights go out.

If you are not sure that this is a different version of Chicago before, you are now fully convinced you are no longer in Kansas and this is VERY different and VERY adult in nature.

 

Image635236752646532896"Funny Honey" - Roxie Hart

Amanda Billing, Andrew Grainger, Mike Edward and Stephen Butterworth --

 

Roxie convinces her husband Amos that the victim was a burglar, and Amos cheerfully takes the blame. Roxie expresses her appreciation of her husband's thick skull ("Funny Honey"). However, when the police mention the deceased's name Amos belatedly puts two and two together. The truth comes out, and Roxie is arrested


Stephen (police detective) arrives (with smartphone in hand) to find the now very dead Fred and Roxie's husband Amos taking the blame for shooting the burglar. Amanda sings the very beautiful Funny Honey which is a love song to her dense husband Amos which turns into a fiery arguement.

 

Unfortunately for Roxie, Fred's known to them. What starts up is a totally fun (from the audience POV) argument between Mr and Mrs Hart and at the end Roxie owns up to killing Fred for walking out on her and ends with "Put that in your fucking report" and lights out!

 

"Cell Block Tango" - Velma and the Murderesses

Lucy Lawless, Hannah Lavinia Uhila, Rebekkah Schoonbeek, Katie Swift, Will Barling
 

Cook County Jail is inhabited by Velma and other murderesses ("Cell Block Tango").

This is one of my favourite songs and the entire cast for this is INCREDIBLE! Truly amazing choreography. The lighting is down and we hear the familiar:

Pop! Six! Squish! Uh uh, Cicero, Lipschitz!

Pop! Six! Squish! Uh uh, Cicero, Lipschitz!

Pop! Six! Squish! Uh uh, Cicero, Lipschitz!


For one of the performances I was sitting in Block D front row and just as Lucy came out, the lighting hits her as she says "Cicero" - not sure about anyone else but for me there was something quite snister in the lighting and the look on "Velma's" face. We were in for a fantastic time :)


Poor Mike Edward was going to be the guy prop for the number and he was going to be working hard for the entire number


While each of the murderers tells their story, the rest of the cast goes to the other side of the stage (it alternates between Block D and Block A) while Mike and whoever has the lead in the number go at it. At one point they pair up - Will with Lucy dancing some sort of funky tango in the corner,  Rebekkah with Hannah push out Katie who is pretty much ostracised and they engage in some cuddling.


image00Liz: and Bernie (Hannah and Mike)

The chewing gum/popping Bernie was never going to have a long life :) Courtesy of the Auckland Theatre Company, the following image can tell you more than anything I can write. Liz shoots Bernie for popping his gum too many times and it's depicted by Hannah who "kicks" an almost naked Mike (he's only wearing his underpants and a white shirt which is barely hanging on - the pic is more chaste). Mike does an amazing backflip! That takes care of Bernie :)

 

Hannah then jumps on top of Mike bringing him down on the other side of the stage and to quote Hannah here (from her Facebook page) it's her "'Flying Face Fuck' leap. AMAZING. JUST AMAZING.

 

 

Image635236753842607880Ezekial Young - Lavinia as Annie and Mike as Ezekial)

Poor Annie who finds the perfect guy and is in heaven until she finds out her perfect man is a Mormon and has six wives! Annie has a stranglehold around Ezekial's neck and down he goes!

 

Arsenic will do that to ya! Not that you would like to try it because it doesn't look all that healthy.

 

 

Wilbrin - Rebekkah as June and Mike as Wilbrin


Rebekkah's June is tougher than tough and she takes umbrage at her husband Wilbrin for accusing her of screwing the milkman. Unfortunately for Wilbrin he was very careless and ran into her knife ten times! The choreography here leaves you gasping - I'm not sure how much Rebekkah weighs but whatever it is, poor Mike will have her shoe prints on his chest. Sitting in Block D is an eye opener for this number.

Poor Wilbrin (who now has his shirt open and bare chested) is lying dead on the floor. June JUMPS onto his chest (one foot is on his chest and the other on his stomach) and screams "You been screwin' the milkman". At one point, she thrusts her foot against his throat while she's singing. You're not quite sure what to look at here - poor Mike, Rebekkah or the other dancers on the other side of the stage. It's just amazing to watch. I've watched it multiple times from Block D and it still amazes me. You lose some of the impact from Blocks A, B and C but in Block D you get it full on. Just incredible.


 

Hungarian (not sure of the poor boy's name)

Mike Edward, Katie Swift (Hunyak) and Rebekkah Schoonbeek

The poor Hungarian prisoner Hunyak, who speaks no English is next up. Her only English words are "Not Guilty"

Mit kersek, en itt? Azt mondjok, hogy a hires

Lakem lefogta a ferjemet en meg lecsaptam a fejet

De nem igaz, en artatlan vagyok

Nem tudom mert mondja Uncle Sam hogy en tettem

Probaltam a rendorsegen megmayarazni de nem ertettek meg

But yeah, did you do it?

Uh uh, not guilty

She says no guilty as she is cradling her dead unfortunate's head.

we then go to Velma Kelly

 

Veronica and Charlie in Cicero - Lucy and Hannah

This is where Lucy heads to Block D and on the way taps Mike as he is laying on the floor.

 

My sister, Veronica and I had this double act

And my husband, Charlie traveled around with us

With the last number in our act

We did 20 acrobatic tricks in a row

One two three four five, splits, spread eagles

Back flips, flip flops one right after the other

Hannah has started to do this amazing split and then proceeds to turn and stand on her head

Well, this one night before the show

We were down at the hotel in Cicero

The three of us, Boozin' and havin' a few laughs and we ran out of ice

So I went out to get some

I come back, open the door

There's Veronica and Charlie

Lucy turns to the audience in Block A (from Block D) and says...

Doing number seventeen, the spread eagle

Hannah is still doing standing on her head (truly incredible to watch) and on Lucy saying "the spread eagle" Hannah spreads her legs (while standing on her head). Just amazingly awesome.

Well, I was in such a state of shock, I completely blacked out

I can't remember a thing, it wasn't until later

When I was washing the blood off my hands

I even knew they were dead

Very slowly Hanna gets out of standing on her head and Lucy pushes her away

 

ALVIN LIPSCHITZ - Will and Mike


Will Barling is "Mona", Mike Edward is the poor unfortunate Alvin

I absolutely loved watching Will do this part. There's something about him that I was captivated by from the first performance.

I loved Alvin Lipschitz more than I could ever know, he was a real artistic guy, sensitive, a painter
But he was always trying to find himself
He go out every night looking for himself
And on the way, he found Ruth, Gladys, Rosemary and Irving
I guess you can say we broke up because of artistic differences
He saw himself as alive and I saw him dead

Mona ties Alvin's feet to a rope and then the cord is pulled up until poor now dead Alvin is hung upside down.

The dirty bum, bum, bum, bum, bum
The dirty bum, bum, bum, bum, bum

Lucy proceeds to swing Mike from one end of the stage (Block B) to the other end of the stage (Block C). Again I'm not sure how to describe this but the crisscrossing of the dancers in this number is so beautiful to watch.

They all continue the song and down come the lights and end of Cell Block Tango. The choreography of this number is incredible.


"When You're Good to Mama" - Matron "Mama" Morton

Colleen Davis (Mama) Hannah Tasker-Poland, Lavinia Uhila, Rebekkah Schoonbeek, Katie Swift, Will Barling and Lucy Lawless at the end

 

The block is presided over by the corrupt Matron "Mama" Morton, whose system of mutual aid ("When You're Good to Mama") perfectly suits her clientele. She has helped Velma become the media's top murder-of-the-week and is acting as a booking agent for Velma's big return to vaudeville.

Image635236754954442099

Photo: Lavinia, Colleen on table, Hannah under table, Rebekkah leaning against table
Will (just barely visible under the table) and Katie (just barely visible on the other side)


Yowza! You have not seen another Mama Morton like this!
Mama is dressed in a very tight, SHORT, dress with her back to Block D and a night stick.

Colleen is such an amazing singer and she struts that stage and exudes power with a little bit of comedic flare. She doesn't take Mama too seriously and I found her more than a little compassionate (and corrupt) warden.

I was utterly gobsmacked by the routine. Colleen and the dancers taken a rolling table and Colleen sits on it, legs spread wide, night stick firmly planted between her legs as they proceed to roll from Block A to Block D. There is a version where Colleen crosses her legs rather than legs apart. I found, to my utter amazement, that I prefered the more raunchier version (this surprised me a great deal). I was really stoked to see that version come back for the final three shows. It has more of an impact. There is just too much going on to describe it properly.

In the middle of song, Velma walks in with her great news about how her exploits are being reported. For sharp eyed fans, the magazine Lucy is holding is the Woman's Day with the feature about Lucy being in Chicago in her underwear! That just cracked me up.

Mama promises to make a phone call for Velma, who she considers family, for $100 and then we proceed to part 2 of the song.

It now gets VERY eye popping and Colleen half squats on the table to pepper her ragoo and it moves slowly towards Lucy. If you are watching Colleen (and marvelling how she stays upright on the moving table and what kind of strength it requires to stay in that position with high heels on) you miss what is going on under the table. This is the part that just has me shaking my head. Hannah is hanging off the underside of the bar that runs the table, while she's doing a pull up, she is crawling forward as the table moves (I hope I can describe this properly because the move is just so amazing). Again I'm wishing I was an artist so I could draw it. It's one of my favourite choreography moves in the show. It's slow and so powerful to watch.

So you are trying to watch Colleen up the top, the other dancers moving around the table AND Hannah doing the crawl. It is just PHENOMONENAL. When they reached the edge of the stage in Block A, Colleen turns and faces Block D, she still standing up and when she sings the following

Let's all stroke together

Like the Princeton crew -

When you're strokin' Mama

Mama's strokin' you!

That nightstick does alot of stroking to the left, between her legs and to the right. It's EYE POPPING. This mama does alot of strokin' <g>

Colleen gracefully gets off the table and stands and on finishing the last verse of the song, she takes great delight in giggling, stopping, looking out at the audience, spotlight and strobing lights on her and that powerful voice as she finishes!

WOW. It's just amazing. My synopsis just doesn't capture this performance at it's most powerful. Colleen's voice is amazing. This is one hell of a Mama Morton!


Image635236755729075211Jail Scene
Amanda Billing, Lucy Lawless,
Collen Davis (Mama) Hannah Tasker-Poland, Lavinia Uhila, Rebekkah Schoonbeek, Katie Swift, Will Barling

The scene opens in the jail, Roxie is sitting in Velma's favourite chair. Velma comes on stage and is none to happy with seeing the new girl in her chair. Velma is top dog in the prison so she's Mama's favourite. Velma sits in her chair, looking very imperious while the others are scattered around the end of the stage. There's a really interesting interplay between Will/Annie (sitting on the edge of Block C) against Hunyak - again they ostracise the Hungarian and she's left to sit on her own. Rebekkah (June) is on the Block B side. Mama is standing towards Block A and Velma is sitting in the corner of Block D. For sharp eyed audience members, Lucy is holding the Woman's Day again but now doing the crossword <g>

 

Some of the quotes I loved:

 

"Hey Snow White (or Fishy Fish or New Fish - depending on Lucy's choice for the evening) get out of my chair!" Velma to Roxie during the jail scene and intro to Roxie in jail

"Look, I don't give no advice and I don't take no advice. You're a perfect stranger to me and let's keep it that way." Velma to Roxie

"Well I guess... I'll just tell them the truth - Roxie.
"Tellin' the Jury the truth? That's really stupid." Velma to Roxie. Lucy's delivery made this line funny

"Jesus, Mary and Joseph, what I'm gonna do?" - Roxie
"You know everyone!" Velma to Roxie. Lucy's delivery made this line funny

"Well, as they say in the Hamptons you're shit out of luck, my dear," Velma to Roxie. Again Lucy's delivery made this line VERY funny

"What do I care. I've had enough of these religious fanatics. I'm going to retire to my cell and answer some fan mail, maybe have a bubble bath. You'll call me when dinner is ready, Mama?" Velma says before leaving the stage.
 

 

Roxie realises she is indeed in big trouble with no lawyer, no defence. At first she's very awestruck by Velma (since she has read all about the murders in the papers and Velma's is her favourite). After Velma leaves, Roxie is less than enthused and says

 

"She doesn't look like a fucking' Kelly to me..." and sits back down on the chair.

 

Mama then tells Roxie about Billy and his $5000 fee. Mama volunteers to introduce Roxie to Billy.

 

Now here is where there are different versions of the next scene. Depending on what Colleen does, Amanda will react differently.

 

Version 1: Mama puts her hand on Amanda's thigh and sexily suggest that she could do Roxie a favour and her hands moves further up the thigh. Roxie is surprised and leans back and says she will think about it. Mama leaves with a light tap on Roxie's shoulder

 

Version 2: Mama puts her hand on Amanda's thigh and also suggests that she could do Roxie a favour and her hand moves up the thigh. Roxie is a little surprised and leans INTO Mama. She smiles and says she will think about it. Mama leaves by tweaking Roxie's chin and leaves.

 

Image635236772817050620Amos arrives and Roxie tries to get her husband to find $5000. The poor sap leaves the stage determined to help his wife.

Rebekkah who is sitting near the end of Block B then starts to call for Billy....one night I found myself almost blurting it out before Rebekkah started. Almost :)

 

 

"All I Care About" - Billy Flynn and the Chorus

Image635236755988512875Shane Cortese, Rebekkah, Hannah, Will, James, Katie, Lavinia

I bet you would NEVER ever see this version of Billy Flynn in any other Chicago show. Billy is a drug taking, sleazy lawyer who is just so funny (Shane is amazing).

While everyone is calling for Billy, he struts on stage with his "aide" (James Luck) who is dressed in black rabbit ears, bare chest and I don't know how to describe it g-string and high shoes. It is just WOW. Billy is dressed in a leopard print SHORT robe.

 

We want Billy
Where is Billy?
Give us Billy
We want Billy
B-I-Double L-Y.
We're all his
He's our kind of a guy
And ooh what luck
'Cause here he is.

[Announcer:]
Ladies and Gentlemen, presenting the silver-tounged prince of the courtroom, the one, the only Billy Flynn!

Billy:
I don't care about expensive things
Cashmere coats, diamond rings
Don't mean a thing
All I care about is love
[Girls:]
That's what he's here for
[Billy:] That's what I'm here for
I don't care for wearin' silk cravats
Ruby studs, satin spats
Don't mean a thing
All I care about is love
[Girls:]
All he cares about is love
[Billy:]
Gimme two eyes of blue
Softly saying "I need you" [Girls:] (with Billy) I need you
Let me see her standin' there
And honest, Mister, I'm a millionaire

I don't care for any fine attire
Vanderbilt might admire
No, no, not me
All I care about is love...
[Girls:]
All he cares about is love.
[Billy:] (whistles)
(girls hum..)

[Billy:] (spoken:) Maybe you think i'm talking about physical love. well, I'm not. Not just physical love. There's other kinds of love. Like love of...justice. Love of... legal procedure. Love of lending a hand to someone who really needs you. (Hannah is bent over in front of Billy at this point and there is no doubt what she is simulating with her movements. NONE at all) Love of your fellow man (Shane takes Will's hand and smiles). Those kinds of love are what I'm talkin' about. And physical love ain't so bad either.
(sung:)
It may sound odd
But all I care about is love
[Girls:]
That's what he's here for
[Billy:]
(Female chorus too:)
Honest to god
All I care about is love
[Girls:]
All he cares about is love
[Billy:]
Show me long raven hair
Flowin' down, about to there
And when I see her runnin' free
Keep your money, that's enough for me
I don't care for drivin' packard cars
Or smoking long, buck cigars
No, no, not me
All I care about is
Doin' the guy in
Who's pickin' on you
Twistin' the wrist
That's turnin' the screw

[Billy and (Chorus):]
All I (he) care(s) about is love!
 

 

In the far left corner towards Block D - James and Katie are getting into a tangle with James being a little slap happy. Poor Katie is getting some really rough treatment here. It's pretty obvious she can't get Billy's attention and no one wants to help her.

 

James leaves Katie and picks up Annie who he holds her in a crucifix like way while Billy snorts drugs off her breast.

 

We then proceed to a drug induced crazy choreography that is just stunning to watch, sexually provocative and leaves nothing to the imagination. Words just don't do it justice and I really don't know how to describe it!

 

At the end of the performance, poor Amos turns up to give Billy the money. This is where Katie/Hunyuk crawls up behind Billy and tugs on his rope only to get Billy slap her away. This causes Hannah to call Hunyuk a bitch and take her away all the while apologising to Billy.

 

James exits after them, stops before he goes down the ramp and gives Billy a withering look! It's hysterical.

 

Billy turns his attention back to Amos who is patiently waiting. There's some funny one liners here that just don't translate well in written form. Billy is getting dressed while talking to Amos and it's funny.

 

We then transitions into a scene with Roxie. Sleazy Billy tells Roxie that he's going to change her story and change her defence to that of self defence. They have to convince the press of the change in Roxie's history <g>

 

Image635236768394363005"We Both Reached for the Gun" - Billy, Roxie, Mary and the Reporters

The reporters come out with their digital cameras and rubber blow up dolls. The first time I saw this I was so surprised that I started laughing (it still made me laugh every time I saw this). The reporters start to ask questions and Billy then becomes the puppeteer.

Those blow up dolls and the choreography is OUTSTANDING. What those dolls represent is female exploitation/corruption/degradation and they are put to good use. VERY powerful imagery. Also powerful is how a clever (and morally corrupt) lawyer convinces the press (who love him) of his client's motives.

The dolls become such a central part to the whole scene that you forget or don't see how Roxie is being manipulated at one end of the stage (Block A) POWERFUL.

I had great fun watching some of those dolls deflate or escaping into the audience (by accident). The deflated doll soon became part of the act. The early performances didn't have the deflated doll left on stage but the later ones did.

 

"Roxie" - Roxie and the Boys

Amanda, Stephen, Mike and James


Roxie ends up with one doll and she is telling the audience how she wanted to be somebody and that Amos was a nice guy but he wasn't what she was after. She then went screwing around but progressed to fooling around (it's screwing around by without dinner). That always got a great laugh. Roxie has this need for the limelight and being a star. She now sees that this the opportunity to achieve what she has always wanted. Fame

 

This leads into the song Roxie.

Amanda's voice here is stunning; she sounds strong and you want to believe she will be this star she wants to be.

When her "bunch of boys to frame her right" come on the stage, it's just a beautiful way of presenting Roxie's desperate needs. Mike, Stephen and James dance so beautifully that they compliment Roxie's moves to perfection. BEAUTIFUL choreography and one of my favourite scenes.

The end of the song sees Amanda and James having so much fun dancing with each other and the smile on both their faces just makes you grin. You can see them enjoying themselves.

 

"I Can't Do It Alone" - Velma

Lucy and Amanda

I just laughed so much here. Velma is now desperate because Mama Morton has told her that her gigs have dried up and she just isn't the star prisoner anymore. Roxie has taken over.

Velma, in her desperation, decides to get Roxie to participate in the act Velma had with her sister Veronica.

Lucy is shoeless and we know why in the next scene. Katie brings out her red boots, and cowboy hat. Katie hands Lucy the gun holster that has two guns and puts on her cowboy hat.

Velma now shows Roxie the sister double act. Lucy's take on Velma here is one of pure comedy. Velma is trying desperately to get Roxie to pay attention to her and to come on board.

At the end of one segment where Lucy struts about the stage, shooting imaginary arrows, thumps her legs like a very slim sumo wrestler (I don't know how else to describe this!) and then proceeds to ride an imaginary horse while whooping (and sometimes does the end of the Xena yell with chaiyya!), she prostrates herself on the floor in front of Roxie. In one performance she did a double roll but normally she just flops down and slaps the floor to ask Roxie what she thinks.

Roxie is not impressed and gives her the finger. Velma tells her it has to be done with two people so in comes Hannah as an Indian girl with very little on (bra, panties and boots). A whip is brought out and Velma proceeds to show Roxie how it's done. Velma whips one of the straps off Indian girl's top and we see boob (pasty in place)

The act doesn't go well when Velma is getting a little too vicious with the whip and she starts to take her frustrations out on Veronica with the whip.

 

 

Towards the end of Velma stripping Veronica's costume off with her whip she yells "You're fucking my husband!" and Veronica cops a whip in the eye and down she goes!

 

Velma stops, turns to Roxie and Lucy does her best John Wayne impersonation "What do you think Little Lady..." - that was a recent addition to the act. The previous versions Lucy just stood there waiting for the verdict. I really liked the John Wayne add-on.

The "act" ends and Roxie says it's a shitty floor show and wants nothing to do with it. It's nothing personal to a dejected Velma (I felt very sorry for Velma here - she's' gone from top dog of the prison to a shadow of her former self). Roxie sticks the knife in by telling Velma she isn't the star and there is only one who could be and it's her. She mocks Velma and leaves.

The scene ends with Velma singing I can't do it alone and crying at the end as the lights go out.

Superb performance by Lucy and Hannah in her skimpy Indian outfit.

 

Miss Kitty

It seems there is a new client who is stealing the limelight and it's Miss Kitty, a socialite who finds her husband in bed with two women. As he describes it, doing yoga <g>


Mike, Katie and Rebekkah are a threesome on the stage in Block A - some really interesting choreography here with Mike being upside down for most of the tangle, his feet up in the air and doing air cycling! I'm not even sure how he does that. Miss Kitty arrives and she is a little shocked, finds her machine gun and blasts her cheating husband! The lights go bezerk (and if you are an epileptic now is the time to shut your eyes).

 

The press are now interested in Miss Kitty and why she shot her husband. Billy is holding onto Miss Kitty who bites him. Billy says "agoraphobia!"

"Agoraphobia? Look that up on Google," Stephen (press guy) to the blow up doll and the audience after Billy is bitten by Miss Kitty

The press appear and are sycophantic towards Billy and his new client. Miss Kitty doesn't react very well to one reporters' question and kicks between his legs. Mama uses her night stick to knock the woman out while Billy is still sucking up to the press.

"You're so sexy, Billy," press pack say to Billy after Miss Kitty is knocked on the head by Mama Morton and taken away after she kicks Stephen between the legs.

"Here Kitty, Kitty, Kitty," Mama Morton to Miss Kitty who is now off stage
 

Billy has a new client that takes the limelight off Roxie and Velma.

Roxie, Billy and Velma

Roxie wants Billy to find out about her trial date, Billy calls her Trixie with Velma snorting her disdain in the corner. Billy says he will get to her and Roxie leaves. Velma tries to get his attention and the same thing happens.

 

 

Image635236757223871226Image635236758635061421

"My Own Best Friend" - Roxie and Velma

Amanda and Lucy.

Velma and Roxie realise they need each other and come together to sing this song in the middle of the stage. They only have each other now and they both know they need someone. They slowly start to come together and are standing back to back while they are singing. That looks so spectacular when both women are singing - their voices compliment each other. BEAUTIFUL work.

 

Roxie:
One thing I know

Velma:
One thing I know

Roxie:
And I've always known

Velma:
And I've always known

Roxie:
I am my own

Velma:
I am my own

Roxie & Velma:
Best friend

Roxie:
Baby's alive

Velma:
Baby's alive

Roxie:
But baby's alone

Velma:
But baby's alone

Roxie:
And baby's her own

Velma:
And baby's her own

Roxie & Velma:
Best friend
Many's the guy
Who told me he cares
But they were scratchin' my back
'Cause I was scratchin' theirs

Roxie:
And trusting to luck

Velma:
And trusting to luck

Roxie:
That's only for fools

Velma:
Only for fools

Roxie:
I play in a game

Velma:
I play in a game

Roxie & Velma:
Where I make the rules
And rule number one
From here to the end
Is 'I am my own best friend'

Three musketees
Who never say die
Are standing here this minute

Velma:
Me

Roxie:
Me

Velma:
Myself

Roxie:
Myself

Velma:
And I!

Roxie:
And I!

Velma & Roxie:
If life is a school
I'll pass every test
If life is a game
I'll play it the best
'Cause I won't give in
and I'll never bend
and I am my own best friend!

 

Towards the end of song, Roxie falls to the ground and Velma asks what the hell just happened.

It's all right, Roxie says, she's going to be fine...she's pregnant.

 

Last line of the Act 1 belongs to Lucy when she says...SHIT!

Lights down and end of Act 1

Phew! That was one very exciting hour!! Intermission for 20 minutes and we are back for Act 2

 

To Be Continued - Part 4 (Act II)

Thanks to theatre-musical.com for the lyrics - images used are courtesy of the Auckland Theatre Company