Walking into the Coronation Hall this evening is a wild transition, from the slumbering streets of Mosgiel to the hot and heady jazz clubs of Chicago; from the 2020s to the 1920s. The theatre is packed – it’s a great turn out for another colourful evening on the Taieri. Everyone is wearing their glitz and glamour for a night of musical theatre, and the pedigree of the Taieri Musical Society ensures we’re all in for an evening of stunning entertainment.

No surprises, that’s exactly what we get.

A sudden noise, the lights drop, and the orchestra sparkles into life. Even before the curtain is raised, we are enthralled. Here we go!

Opening night being what it is, there are a few nerves amongst the performers, but this is not for the faint-hearted. There are challenging melodies, asynchronous harmonies, and dancing that evokes the smoky sensuality of a 1920s jazz club. The throb and patter of the orchestra plays a leading role in drawing us into this world of sex, partying, and murder. As the music sweeps away the players’ nerves, they slip more comfortably into their characters, and the audience is drawn into their world.

Inspired by the true crime stories of the time, Chicago focuses on the lives of two women accused of murder, Velma Kelly (Lara Davidson) and Roxie Hart (Jennifer Hughson). Are they guilty? Absolutely!

Not that it matters in 1920s Chicago. Particularly not when you’ve got a sharpshooter lawyer on the scene, and Billy Flynn (Max Beal) is our man. Striking a convincing pose as a womanising hotshot, Billy’s secret self is well hidden until the courtroom kiss that surprises and delights us all.

Billy is a master of the media, a serial storyteller – he well knows that the tale that passes from lip to lip has much more power than the truth. He weaves glamourous and heart-breaking stories around these sweet murderesses, using their beauty and talent to build a wall of lies that will set them free. Equally quickly, though, he will push them aside and move on to the next darling of the tabloids.

The three headliners – Davidson, Hughson, and Beal – provide an excellent scaffold for stunning performances by the supporting actors. Jess Clarke (Matron “Mama” Morton), David Tuitama (Amos Hart), and Chelsea McRae blew the house down with their singing talent, supported by an excellent ensemble. The Master of Ceremonies, one-time school principal Brent Caldwell, acting as narrator, encapsulates the production’s vibe with a costume reminiscent of steam punk mixed with a 1980s punk aesthetic.

Costume and set design are pared back to let the action lead the way, a clever choice to ensure that the focus is on the art at play, not the trappings. The stage space is left open for movement, evoking the chaos and liveliness of the time and place.

With over 50 years under their belts, the Taieri Musical Society is well established as a leader in musical theatre in Ōtepoti. Chicago is a worthy addition to this pedigree. If you’re looking for a night of sparkling entertainment, this really is an all-singing, all-dancing extravaganza that will not disappoint.

Copyright © in the review belongs to the reviewer