by Dan Mayer
It’s been nearly a century since the original play “Chicago” debuted on Broadway, and over half a century since the musical version by Fred Ebb and Bob Fosse opened, and Americans are no less fascinated with murder now than they were then. Steamer No. 10 Theatre‘s production brings this classic story into the modern age, when people are still dying (and killing) to become famous.
There is something special about musical theater with a live band. Without an actual pit, the pit musicians (Gerrett Smelcer, Peter Fitzsisti, Tyle Wills, Ernie Casile, Jessica Fitzsisti, Vinny Marotta, and Robert Ackerman) are relegated to the back of the relatively small stage, with a couple members actually seated above the stage on a raised platform. Despite their cramped quarters, the band sounds great and works excellently in sync with the performers in front of them.
The cast is terrific all around. Gillian Austin (Velma Kelly) absolutely shines in every song she’s a part of. WillieMae Fiddemon (Roxie Hart) brings a captivating vocal performance that would feel right at home in a 1920s jazz act. Michael Meier (Billy Flynn) is delightfully sleazy and stylish. Janae-Marie Smith (Matron “Mama” Morton) was the crowd favorite opening night, with a sultry smooth voice and effortless swagger that demands attention. Mendon Neyerlin (Amos Hart) and Thomas Wilding (Mary Sunshine) both make for pitch-perfect comic relief, but Neyerlin really knows how to tug at the audience’s heartstrings.
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
“Chicago” by Fred Ebb and Bob Fosse, directed and choreographed by Gregory Theodore Marsh, at Steamer No. 10 Theatre. Photo: Eiss Photography. 
Mahogany Akita (Annie/Harrison/Ensemble) and Mani Velvet McCalmon (June/Judge/Ensemble) stand out among the ensemble as the most graceful and athletic dancers in the group. Both have backgrounds in dance, and most of the big dance numbers wisely have them front-and-center. Lindsey Dodd (Liz/Juror 2/Ensemble) also stands out with her hilarious (and slightly terrifying) portrayal of Liz during Cell Block Tango.
The limited space presents a challenge for the big dance numbers, but it’s a challenge director and choreographer Gregory Theodore Marsh rises to. The dancers don’t look crowded at all, and several numbers make good use of the aisles, having side characters spread out to the left and right so the main action has room to breathe on the stage.
The ensemble’s costumes have a lot of personality. While there is a central color scheme akin to a prison uniform, each member of the cast brings something different to their look; make-up, fishnets, or other accessories. You can tell the cast brought their own ideas and items for their costumes, and it makes for a more vibrant, eclectic look for the whole show.
The story may be originally inspired by events from 1924, but its themes feel timeless. In this production, Velma gets updates about Roxie’s trial on her phone, and the members of the media are armed with smart phones instead of microphones or notepads. The media circus at the center of the plot feels completely natural to today’s world where people still exploit any angle they can to get attention and acquire fame, and the popularity of true crime stories seems higher than ever. The music evokes a bygone era, but the satire definitely still has teeth.
The one part that hasn’t aged so well is the character of Mary Sunshine. Wilding embodies the role of the trendy tabloid reporter well, and he gives an impressive rendition of A Little Bit of Good. The trouble lies in the ending where Mary Sunshine is “revealed” to be a man in drag. It’s a joke that’s been part of Chicago since its original Broadway run, but it feels out of place in a modern production. That said, one sour note isn’t really enough to ruin a whole musical.
A lot of great stories will wear out with age, but the true classics always remain relevant, and Chicago is definitely one of the classics. The music is fun, the dance is playful and provocative, and the themes are as relevant today as they ever were. Even if the weather is scorching this weekend, and the theatre’s HVAC is in need of repairs, you’ll want to brave the heat to enjoy this sweltering, stylish vaudevillian outing.
Steamer No. 10 Theatre presents Chicago runs from June 5 – 15, at Steamer No. 10 Theatre, 500 Western Ave in Albany, NY. Book by Fred Ebb and Bob Fosse. Music by John Kander. Lyrics by Fred Ebb. Based on the play by Maurine Dallas Watkin. Script adaptation by David Thompson. Director and Choreographer: Gregory Theodore Marsh. Music Director: Garrett Smelcer. Cast: Gillian Austin as Velma Kelly, WillieMae Fiddemon as Roxie Hart, Michael Meier as Billy Flynn, Janae-Marie Smith as Matron “Mama” Morton, Thomas Wilding as Mary Sunshine, Mendon Neyerlin as Amos Hart, Mahogany Akita as Annie/Harrison/Ensemble, Mani Velvet McCalmon as June/Judge/Ensemble, Lindsey Dodd as Liz/Juror 2/Ensemble, Erin Harwood as Hunyak/Ensemble, Brady McDevitt as Mona/Ensemble, Lauren Kerr as Go-to-Hell Kitty/Sergeant Fogerty/Court Clerk/Ensemble, Saadia Santos as Fred Casely/Aaron/Ensemble, Haley BCU as Announcer/Ensemble, Erika Duraski as Bailiff/Ensemble, and Nina Scandurra as Juror 1/Ensemble.
Stage Manager: Oona Newman. Assistant Stage Manager: Finnegan King. Production Managers: Oona Newman and Vinny Pruchnick. Sound Designer: Vinny Pruchnick. Associate Sound Designer/Operator: Katrina Beach. Lighting Designer: Laura Darling. Costume and Properties Designer: Company. Props Construction: Gregory Theodore Marsh and Oona Newman. Scenic Design: Michael McDermott. Scenic Construction: Michael McDermott and Oona Newman. Producer: Steamer No. 10 Theatre – Eleah Jayne Peal. Graphic Design: Ben Amey. Show Photographer: Eiss Photography. Playbill: Eleah Jayne Peal, Oona Newman, and Haley Kastler.
Pit Musicians – Keyboard: Garret Smelcer. Trumpet: Peter Fitzsisti. Reed 1: Tyler Wills. Reed 2: Ernie Casile. Reed 3: Jessica Fitzsisti. Bass: Vinny Marotta. Drums: Robert Ackerman.
Performance dates are Friday, Saturday, and Sunday,June 5, 6, 7, 12, 13, 14. Friday and Saturday curtains are at 7:00 pm. Sunday, June 7th is at 3:00 pm. Sunday, June 14th is at 5:00pm. Tickets are $25, or $20 for students and seniors. Runs approximately 2 hours 30 minutes with a 15-minute intermission. Age guidance is PG-13. Tickets are available online. Visit https://steamer10theatre.org for more information.