CHICAGO, with music by John Kander, lyrics by Fred Ebb, and book by Fred Ebb and Bob Fosse, is a sharp and stylish tale of crime, corruption and the pursuit of fame in the roaring 1920s. Tall & Short Theatre Co. brought this classic musical to life at the Sutherland Arts Theatre with warmth and confidence, capturing the era’s glitz and grit. Framed by deep red curtains, red seats, and the red glow of the LED pre-show lighting, the theatre welcomed its audience into a world of jazz and scandal.
The crisp overture, conducted by musical co-director Helen Howe, set the tone immediately. Positioned traditionally on a raised platform, the orchestra delivered a layered soundscape with standout work from Andrew Smith on slide trombone and Leon Denis on wah-wah muted trumpet. The reed section, piano, bass and percussion completed a lively ensemble. Direction by co-directors, the seasoned Benjamin May and newcomer, Lachlan Ganderton gave the show shape and energy, supporting strong storytelling throughout.
Katie Vials shone as Roxie Hart, delivering charm and vocal control in “Funny Honey”, “Roxie” and “We Both Reached for the Gun”, where her comic timing paired perfectly with Michael Astill as Billy Flynn. With over two decades of musical theatre experience, Astill brought ease and flair to the role, especially in “All I Care About Is Love” and the show stopping courtroom sequence.
Willow Twine brought Velma Kelly to the stage with confidence and sharp physicality. Her vocals in “All That Jazz” carried less punch than anticipated, but her presence never wavered. A highlight came with the duet “Class”, sung with Elizabeth Ellis as Mama Morton, an elegant, cheeky performance filled with harmonies and humour. Ellis’s vocals were strong, though Mama’s authority could have been more defined.
Nathaniel Lawson’s portrayal of Amos Hart was quietly compelling. His rendition of “Mr Cellophane” offered a moment of honest simplicity that earned heartfelt applause.
The ensemble supported the production with cohesion and energy, whilst staying true to the show’s jazz-infused style. Jalia Ellem’s choreography retained the Fosse edge, particularly in “Cell Block Tango”, and “All I care about is love”, which was much to the audience’s delight.
Tomas Gerasimidis’s lighting design added sophistication with clever manipulation of colour to transport us into the various locations and further enhancing the look and feel of the era.
Beyond the performance itself, what stood out was the clear presence of Tall & Short Theatre Co.’s guiding ethos. Formed to support diversity and representation in the arts, the company’s commitment to inclusivity was evident on stage. With a cast that reflects a range of backgrounds and lived experiences, this Chicago doesn’t just entertain, it also represents a shift in how theatre is made and who gets to be seen. That’s no small thing, and it gives the production an added layer of relevance and authenticity. For newcomers and long-time fans alike, it’s a show well worth catching.
Tall and Short Theatre Company production is playing the Sutherland Arts Theatre until 31 May 2025.
