Stage 284's 'Chicago' is a Fabulous Night of Entertainment

Let’s take a trip to Chicago! Don’t get caught in any murder cases.

Stage 284 presents Chicago. Set in the roaring 1920s, Roxie Hart is on trial for murder. Getting advice from famous vaudevillian Velma Kelly, and her lawyer, Billy Flynn, the murder trial of a lifetime has the city of Chicago in an uproar.

What a fantastic opening night at Stage 284! The cast of Stage 284’s Chicago was spectacular in their performance of the dazzling musical. Brandishing immense energy, showstopping numbers, and phenomenal talent, you don’t want to miss the epic show.

Driven by a powerhouse duo, Lauren Abramson and Meaghan DelGenio were outstanding as Velma Kelly and Roxy Hart. The actresses absorbed their character’s energy, sass, and belting out in tune. My favorite parts were how they were trying to get in each other’s faces to steal the press. I applaud them for their incredible enthusiasm.

In an impressive gender swap, Ursina Amsler added a new flare to the character of Billy Flynn. I like how she programmed Roxie as a puppet during the number, ‘We Reached for the Gun’, trying to remain on good terms with all the reporters and the judge.

Michael DeFillippi’s humorous portrayal of Amos Hart was a highlight of the show. He most definitely earned applause for his musical number, ‘Mister Cellophane.’

Making her grand entrance as Matron ‘Mama’ Morton, Branigan Reed stole the show with her signature song, ‘When You are Good to Mama.’

No small part exists. A talented ensemble lit up the stage in energetic dance numbers, a crowd of nosy reporters or expressive spectators during the trial scene. A few people showed off their talents, doing splits, juggling, and balancing on their heads! Everyone was having the best time.

‘Cell Block Tango’ was the most entertaining number of the evening! I could feel the excitement illuminating the audience. Trapped behind jail cells, a group of women prisoners expressed their dark stories of revenge while tapping rhythmically to the beat.

The technical achievements of Chicago were well-executed. Entering the theatre, the set of Chicago instantly meets the eye. With stairways leading from the balcony, a neon sign illuminated the show’s title, accompanied by a white sheet that cast shadows of the actors' dramatic feelings.

The costumes were wild. Hair, wigs, and makeup were particularly notable and suitable for the 1920s era.

A live orchestra of talented musicians sits right backstage. The show opens with the lively number,’ All That Jazz.’ Other songs to expect are “All I Care About is Love’, ‘Me and My Baby’, and ‘Razzle Dazzle’.

The cast was hands-on with the show. To compel this telling of Chicago, Katie Clarke-Robertson and Eden Tomaszewski worked incredulously with the cast. Open to all ideas, they collaborated to make their performance in Chicago something to remember. So much was accomplished in every aspect of this performance. Passion flooded the theatre.

Since the theater has returned, I have never been so thankful for audience reaction. I had the pleasure to sit in between the parents of the two main stars and listen to their feedback. Audiences clapped, laughed, and responded in the right tones. That’s what theater does. It brings the community together.

Fair warning, Chicago may not be appropriate for younger audiences. The show occupies dark and risque themes. Murder is the main theme.

Well done to the cast and crew of Chicago for a successful opening night. Be proud. Running until March 12, tickets are selling fast. Don't miss out. Each production bears something unique, like different sets of casts.