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THEATER REVIEW Randall's 'Chicago' ambitious undertaking Rough edges plague opening night, but lead roles shine Comment By Roberta Kent for the Mail Tribune MailTribune.com By Roberta Kent for the Mail Tribune Posted Aug. 8, 2015 at 1:38 PM Updated Aug 8, 2015 at 1:40 PM By Roberta Kent for the Mail Tribune Posted Aug. 8, 2015 at 1:38 PM Updated Aug 8, 2015 at 1:40 PM » Social News In a time of “celebrity politicians,” it’s nice to see an old-fashioned “celebrity criminal” take the stage again. Who needs truth or justice when razzle-dazzle can always win the day? “Chicago,” the wry musical by John Kander, Fred Ebb and Bob Fosse, tells the 1920s tale of the mutually conniving Roxie Hart and Velma Kelly vying for newspaper coverage in a city obsessed with “the murderess of the week.” “Chicago” has mesmerized audiences since its Broadway debut in 1975 with music and lyrics by Kander and Ebb and unforgettable choreography by Fosse. It is an ambitious undertaking for any theater company. The lead characters — the brash Roxie Hart, the savvy Velma Kelly and the cynical lawyer Billy Flynn — all call for serious singing and dancing chops. There is also a large supporting cast of “jailhouse dames” and adoring reporters serving as an ever-present chorus. This production of “Chicago” at the Randall Theatre briskly puts the bootstrap theater group through its paces. Director Susan Aversa-Orrego and choreographers Deborah Downward and Brianna Gowland were faced with Kander and Ebb’s formidable staging — each musical number is crafted as a vaudeville turn, spotlighting the talents of the performer. That means, effectively, there are no minor roles. Everyone in this cast of 22 actors, including the chorus, has to shine as singer, dancer and actor. That is a difficult task to achieve. Kaitie Falk as Roxie, Deborah Downward as Velma and Robin Downward as Billy are a good match. They have the vocal ability to belt out Kander and Ebb’s brassy music and sly lyrics as well as the dancing talent to strut their stuff. Deborah Downward and Falk have the skilled musical talent to come off as amusing dueling divas. Robin Downward also has impressive musical skills to pull off the amusingly amoral Billy Flynn. Jon Oles does a nice job as Roxie’s hapless husband, Amos, especially in his big number, “Mr. Cellophane.” He is low-key enough to make the role believable but not so subdued as to disappear onstage. Dianna Warner has the charm to bring off the role of the corrupt jail matron, Momma, if not the vocal ability. Kelly Hammond, on the other hand, brings a delightful and skilled soprano to the ever-cheerful reporter Mary Sunshine. Randall’s production values are impressive for such limited space and budget. The sparse, art deco-inspired set by Russell Medeiros and lighting design by KJ make the most of Randall’s pocket-size stage. Toni Holley’s sultry and sexy costumes are bawdy without being embarrassing. Problems with the sound system and the pre-recorded score plagued the performance throughout opening night. It is a measure of Falk’s professionalism that she managed to overcome the theater’s sound system malfunction and wow the audience with an a cappella performance of her big “Roxie” number in the first act. Even with the rough edges, Randall’s production of “Chicago” is a pleasant way to spend a summer evening. It’s enthusiastic, exuberant and irreverent. That old razzle-dazzle will carry the day any time. Roberta Kent is a freelance writer living in Ashland. Reach her at [email protected].         By Roberta Kent for the Mail Tribune MailTribune.com By Roberta Kent for the Mail Tribune Posted Aug. 8, 2015 at 1:38 PM Updated Aug 8, 2015 at 1:40 PM » Comment or view comments Reader Reaction » STAY INFORMED Email NewsLetter Sign Up Today Sign up for our newsletter and have the top headlines from your community delivered right to your inbox. Southern Oregon Directory Featured Businesses Loading... 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