"Chicago' serves up the razzle dazzle as it opens new West Bank venue

Slidell Daily-Sentry
Thursday, October 07, 2004
By John Perkins
Slidell Daily-Sentry Theater critic

WESTWEGO, LA - The City of Westwego is making its bid to become a significant part of the cultural scene in the New Orleans area and judging by the premier production of a new season presented by JPAS West, "Chicago", there is reason to believe that it will become a reality. The new 230 seat Westwego Performing Arts Theatre is a splendid venue and with Dennis Assaf at the helm the productions will be first rate.

"Chicago" the musical vaudeville serving as the first production of the theatre's premier season is one of the best we have seen with some very talented performers bringing the Fred Ebb/John Kander/Bob Fosse musical to life in a most entertaining fashion.

The city of Chicago has always had the reputation - earned or unearned - of a city where the criminal element has always been placed on a pedestal. It goes back to the days of the Roaring' Twenties and the likes of Al Capone and John Dillinger who were headline makers of their day. It's not unlikely then that a story centered around crime, where the villains become the heroes simply because they are in jail should provide a good base for a story.

Such is the premise of the musical "Chicago" where Velma Kelly is queen of the cell block until one Roxie Hart makes her entrance.

Kelly, guilty of a crime of passion, was enjoying all kinds of privileges thanks to Mama Morton the prison matron who was not above holding out her hand to have her palm greased as she made things happen. She also had the town's sharpest lawyer, Billy Flynn, who had never lost a case, in her corner.

Enter Roxie Hart convicted of killing her lover Fred Casely. Her husband Amos has confessed to the crime but it doesn't hold water with the investigating Sergeant Fogarty and Roxie finds herself behind bars, Once there, it doesn't take her long to learn the ropes and before long she has replaced Velma as the queen of the cell block. For the sum of $5000 she has not only taken control of the cell block and the help of Mama Morton, but Velma's lawyer and her trial date.

Its a story that is told with plenty of song and dance with the accent on the music style of the era. The story in itself plays second fiddle to the music and the fun is in the viewing which is bright, brassy and gaudy.

Brandi Cotogno has the role of Velma Kelly and she is outstanding with her performance of the convict who enjoys her prison life to the fullest. As a singer and dancer she delivers splendidly throughout.

Roxie Hart, the saloon singer who finds her own way of dealing with her two timing lover is played in splendid fashion by Trina Beck. Like her counterpart, she comes well equipped with all the necessary attributes to do justice to the songs and dances.

Billy Flynn, the shyster lawyer, gets his look from the work of Vatican Lokey, and he delivers a solid performance that helps to paint a colorful portrait of the man who would defend anyone for the sum of $5,000. Additionally, he gets to sing some of the best songs of the evening including "Razzle Dazzle".

This trio was supported by a stellar cast of players. Amos Hart, Roxie's milquetoast hubby is played in great style by Edward Cox and his singing of "Mr. Cellophane" was a standout.

In the role of Mama Morton is Kate Arthurs and she is excellent in all aspects and her performance of "When You're Good to Mama" brought sustained applause from the audience.

D. Park is seen as the inquiring reporter Mary Sunshine displaying a voice that would make most sopranos jealous. Park is also responsible for one of the surprises at the ending of the story.

The girls of the cell block are a most talented group and each of them gets a chance to shine in the performance of "Cell Block Tango." Included in this number are: Monique Simon (Liz), Lynne Lawrence (Annie), Katie DiGiorno (June/Kitty), Carrie "Not Guilty" Black (Hunyak) and Courtney Anderson (Mona).

Rounding out the cast are Michael Atwater as the short lived Fred Casely, Jimmy DeMontluzin as Sgt. Fogarty, Jonathan Mares as Harrison, and Duane Sepich, Daniel Quintero, Alex Caire, Butch Caire, Robert Naumen, Meredith Lee and Peggy Crain filling various roles.

The orchestra which, of course is on stage for this production, is under the baton of Dennis Assaf who also serves as the emcee.

The production is directed with a knowing hand by Jayme McDaniel who also did the choreography. Stephen Thurber designed the pretty set and also the lighting that enhances it. Rebecca Marcus coordinated the costuming with Don and Linda Guillot providing the wigs, hairstyles and makeup. Lynne Lawrence served as assistant choreographer.

"Chicago" is one musical you should really see as it continues at the Westwego Performing Arts Theatre through October 17. Call (504) 885 2000 for additonal information and reservations.

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Homicidal honeys heat up 'Chicago'
Wednesday, October 06, 2004
By David Cuthbert
Times-Picayune Theater writer

You'd think the public would be just about "Chicago"ed out by now.
Maurine Dallas Watkins' satirical play about jazz-crazed murderesses becoming tabloid and vaudeville celebrities was a hit on Broadway in 1925, slayed 'em on the silent screen in 1927, gave Ginger Rogers one of her best roles in the 1942 movie comedy "Roxie Hart," became the brilliant Kander & Ebb-Bob Fosse Broadway "musical vaudeville" in 1975, and re-emerged in a Tony Award-winning revival (which is still running) in 1997 and the flashy, Oscar-winning movie musical version in 2002.

Add to this countless tours and community theater productions. Hasn't "Chicago" looped the Loop to the point of overexposure?  Not quite. The energy, sleazy cynicism and irresistible musical score still work, whether you're doing the traditional Fosse version or the stripped-down revival staged by his protégé Ann Reinking. As the debut attraction of the Westwego Performing Arts Theatre, director-choreographer Jayme McDaniel borrows a little something from all versions, even Ginger's. The resulting hybrid is generally satisfying entertainment, and exciting in the showy star turns and female ensemble work.
But in addition to its snaky, sensual movement, "Chicago" is also a show that sings up a storm and this show has three vocalists who keep things hot. Brandi Cotogno's Velma Kelly is killer; a tough broad with a voice like a trumpet, who gets the most out of every number, be it the show's signature "All That Jazz" or the throw-away second act opener "I Know a Girl." Combining her song-and-dance skills, she dazzles with sky-high kicks in "I Can't Do It Alone" and does tricks with a chair in "When Velma Takes the Stand" that are probably illegal in some states.
Trina Beck plays Roxie Hart as written: a cute, common, heartless, street-smart flapper who can be "an awfully good sport" when she wants something. And what she wants is to parlay notoriety into stardom. Beck turns "Funny Honey" from a torch song to a caterwaul of outrage, has great fun with "Roxie," and combines Eddie Cantor's capering trot with Gwen Verdon's joyful prance in "Me and My Baby." And when teamed with Cotogno on the drama queen's national anthem "I Am My Own Best Friend," the haunting "Nowadays" and "Hot Honey Rag," they set off sparks.
Kate Arthurs takes the stage with steamroller authority as she belts out "When You're Good to Mama" in classic showstopper style, while the comically coarse "Class," where she's paired with Cotogno, is choice.
Vatican Lokey's strong voice and slick, smarmy insincerity are just right for larcenous lawyer Billy Flynn. Unfortunately, his mike kept going out during his introductory number on opening night, part of recurring sound problems that affected "The Cell Block Tango," often made the chorus inaudible and messed up sound effects. Luckily for Lokey, he also had "We Both Reached for the Gun" and "Razzle Dazzle" to strut his stuff.
Eddie Cox as Amos, Roxie's sadsack husband, is a good character turn in which less would be more, especially when playing a poor slob with an entire song about how no one notices him. His "Mister Cellophane," while well performed, felt endless. In fact, almost all the musical tempos seem slow after the jazzed-up movie; otherwise the orchestral sound was fine.
D. Park's Mary Sunshine nailed every high note, but at the expense of the lyrics. Michael Atwater's hunky Fred Casely is a hoot, especially in the section where he and Roxie re-enact her crime by rote. Conductor Dennis Assaf gets into the act as the sarcastic emcee.
The female dancers are a more cohesive group than their male counterparts, and look better, too, in the skimpy all-black revival attire.
Stephen Thurber's set is dominated by an Art Deco geometric design. The orchestra is placed above the main playing area, but not as in either well-known version of the show and mostly hidden. Descending from this area is a steep, treacherous-looking set of stairs composed of large white blocks. Set pieces roll on as in the original, but Velma is not given her elevator entrance; instead, she is revealed when a black panel is clumsily removed. Equally cheesey is the "Hungarian rope trick" execution, which falls flat. Thurber's lighting is adequate, and flashy in "Roxie" and "Razzle Dazzle."
Assaf's Jefferson Performing Arts Society has a three-year contract to run the Westwego Performing Arts Theatre. As is customary at JPAS productions, sponsors and political figures were acknowledged and several spoke, including state Rep. John Alario, as well as Assaf.
But it was Westwego Mayor Robert F. Billiot who brought down the house, when after 10 minutes of various thank yous and speeches, he said, "I've been watching a lot of television lately and I approve this message."

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"Chicago"

AMbush Magazine
printed November 4th issue, 2004
by Patrick Shannon, III, theatre reviewer

Chicago was presented by the Jefferson Performing Arts Society,
Entergy at the newly constructed and beautiful Westwego
Performing Arts Theatre.  The building is pale yellow, with Art
Deco influences.  This fine hi-tech venue has a great proscenium
theater with audience seating for about 225 I was told.
We went to check out the location the day before the show, and it's not hard to find.  The actual theater is behind a large newly constructed building which will be used for community
affairs and events in Salaville, Louisiana.
As we were looking through the windows of the building a man stopped his car and hailed us over. I asked him if this was where they were doing the musical Chicago.  "Yes, he said, "and I saw it on opening night. I kept asking myself, am I in Westwego?  I mean, the show was absolutely fantastic.  I plan to come again
tonight!"
Well that says it all.  This is a great new theater, in the heart of Westwego, in a little village named Salaville at and I must say I agree with this man's critique.  The show was a glorious first musical for the Westwego Performing Arts Theatre!  High art
and culture have invaded Salaville in Westwego leaving the surrounding towns behind.  Under the command of Dennis G. Assaf (Executive/Artistic Director/Conductor) I can only predict great things for this new theater.  Check out the Jefferson Performing Arts Society web site http://www.jpas.org/ for more information. 
Of course most musical theater patrons and movie patrons know the score and story of the musical with book by Fred Ebb and Bob Fosse.  The lyrics were by Fred Ebb.  The jazzy score was composed by John Kander.  The musical is based on the play Chicago by Maurine Dallas Watkins; but the musical is presented in the style of a vaudeville show.  Only this is a very gleefully mean show as the writers have conceived the low-life characters they created; but what fun they are to see on stage! 
The musical all takes place in Chicago, Illinois, circa 1920, and is based on the stories of two famous murderesses of their day, Roxie Hart and Velma Kelly.  The principal storyline concerns the trial of Roxie Hart who says in one version about her crime in the show, "Yeah I shot him.  I shot him five times.  Bam, bam, bam, bam bam!"  Roxie Hart and Velma Kelly are in competition for the legal advice of a smarmy lawyer, Billy Flynn.  (Brilliantly and unforgettably played with panache and great style by Vatican Lokey.)  He is a lawyer who has a record of getting such women free of all charges.  Velma Kelly wants to open her own vaudeville act when found not guilty and set free.  She can't stand all the attention Roxie Hart is getting with the press.  She was the media and jail house head liner before Roxie Hart killed her lover, and ended up in the slammer.  Now all of Chicago is hanging on every word and picture of Roxie Hart as they press uncovers her story rather than her crime.  Rather then compete the two join forces.
Also involved are Roxie Hart's husband, Amos, gorgeous women in prison for killing their husbands/lovers, the "you stroke me I will stroke you prison matron" Mama Morton, Mary Sunshine - a 1920s reporter who is was described in those days as a "sob sister" because as a woman reporter she was easily moved by the worst of criminal's "I'm innocent" stories.  The actors and actresses also play a variety of smaller roles filling the stage with the attractively jazzy citizens of Chicago. 
Roxie Hart was played with perfection, and a true Broadway musical voice by Trina Beck.  What a talent!  She can sing, dance, and act like the professional she really has become!
Her rival and finally her partner in the crime of show business, Velma Kelly was played by Brandi Cotogno.  I don't think I will ever hear and see a better and more talented Velma Kelly than Brandi Cotogno's inspired creation.  She had a blinding stage presence, a great voice, and a naturally graceful dance technique.
Both of these performers, Brandi Cotogno and Trina Beck could easily do these roles in New York City.
Edward R. Cox played the role of Amos Hart, Roxie Hart's "transparently throw away husband."  He was magnificent.  His greatest moment was his version of the famous song and dance number, Mister Cellophane during which he laments his
invisibility and apparent uselessness to everyone.  He was brilliant!
The smarmy, handsome lawyer, Billy Flynn was done by Vatican Lokey.  Vatican Lokey did this role as good as any one anywhere - with talent, a great voice, and handsome looks could have done it.  I doubt if I will ever see a better performance of Billy Flynn again unless I fly to New York City.  His was a shining example of great theatrical talents. 
The musical was directed and choreographed with a crispy and spicy touch by Jayme McDaniel.  There was not one dull moment in the whole show.  The assistant choreographer was Lynne Lawrence.  Musical direction and the conductor was Dennis G. Assaf, one of our great maestros of the orchestra.  (I refuse to refer to him as anything but Maestro Assaf because he is a master of all he
does in the vast musical repertoire.)
A special spotlight goes to Kate Arthurs who played the dykey jail wardress, Mama Morton with memorable stage presence and a stunning singing voice.  Her duet of the song, Class with Brandi Cotogno as Velma Kelly was in itself "a class act."
Scenic and lighting design were by Stephen G. Thurber.  Stephen G. Thurber chose to do a minimalists set, and it worked well for this production.  His lighting designs of pastel colors was equally as effective in creating various moods as needed.  His stylized set and lighting design were inspired by the recent
revival in New York City, simplest of set pieces; and everyone in a black and sexy revealing costumes, all of which were coordinated by Rebecca Marcus for this production.  Dan and Linda Guillot were responsible for the effective wigs, hairstyles, and makeup.
This production of Chicago at the new Westwego Performing Arts Theatre was a stunning and very professional opening for the new venue.  If you want to see one a little more professional and exciting, then as I said, you'd better fly to New York City; but it is much easier to cross the Mississippi River, unless you live on the Westbank.
Bravissimo to the entire cast and technical crew for a wonderful evening of high quality entertainment!