FORT MYERS — Friday night’s opening of William Prather’s production of “Chicago The Musical” lived up to the theater’s name “Broadway” in every sense of the word.
“It is the pinnacle of my career,” Prather said in an introduction before the show began.
After guiding his company through Covid and major hurricanes in recent years, he was now producing what may be the finest show in the company’s history.
He had cast the show in New York with performers so talented that every person is worthy of a Broadway role, such is their experience and talent.
“They had three and one half weeks together in New York,” Prather said. “They flew down Sunday (Sept. 28), and rehearsed Tuesday and Wednesday. The hurricane was Thursday, but they managed some time between rain bands. I can’t be more proud of these individuals.”
The result was a truly “Grand” opening Friday night for what will become a 28-week run to 60 cities in North America, Mexico and Canada.
“The show will close in Miami in June next year,” he said.
Prather reminisced about the Palm’s lineage from a dinner theater started by his parents in Harrisburg, Pennsylvania 60 years ago.
These days. the younger Prather runs the Pennsylvania theater and this one in Fort Myers. Surviving pandemics, hurricanes and more, he has carried on, with this show perhaps the crowning achievement.
This production of “Chicago” uses the original Bob Fosse direction and choreography enhanced by what choreographer Ann Reinking added in 1997.
With Taylor Lane as Velma Kelly, Ellie Roody as Roxie Hart and Connor Sullivan as Billy Flynn, Prather had stars that did their respective jobs superbly. They have the voices and footwork to make the most of such songs as “All That Jazz,” “Funny Honey” and “Cell Block Tango.”
And there are so many more songs that make this show sensational with a capital “S.”
The 11-piece orchestra was on stage and included piano, several reed instruments, trumpets, trombone, banjo, mandolin and ukulele, plus one musician who played both a tuba and a bass — two big instruments.
Cameron Blake Kinnear was music director/conductor with Jason Hfafatelli on drums. They were in the background on stage — an integtral part of the production.
The action in the foreground was provided by one of the strongest casts to be seen in Southwest Florida and possibly far beyond this area.
Sullivan performs as Billy Flynn, the lawyer for the murderous females in the story. He not only danced and sang his part as though literally on Broadway but could hold a note for the longest time.
Serving as Matron “Mama” Horton, Lllian “Lilly” Horton could move her generous body with ease while dealing with the girls in jail for murder. This story is set in Chicago in the ‘20s.
Murder was no stranger to either sex and could even be a way to fame and fortune as front-page news in that era.
Nothing is off limits to Velma and especially to Roxie as they vie for the front page, helped along by their lawyer. In the case of Roxie, she was even “helped” off and on by her husband, Amos Hart (Andrew Metzger), who captures the stage with his rendition of “Mr. Cellophane” in the second act.
The music is consistently good throughout this show, making it such a lasting hit, but in this performance, the voices and presentation of Fosse’s choreography took this show to the top.
That every character also needed strength and stamina and has both is another plus.
“Chicago” gets off to a great start in Act One with “All That Jazz” featuring Velma Kelly (Taylor Lane) followed by Roxie (Ellie Roddy) on “Funny Honey.” The rivalry will continue throughout the story.
Velma later sings “I Can’t Do it Alone” near the end of Act One. In Friday’s opening night production, no one did it alone. This talented troupe was together all the way and with much more than singing and dancing.
One actor alone demonstrated seemingly impossible feats of strength while Sullivan proved to not be the only one able to hold a long note.
The 22-person cast easily showcased the personalities that make this story so stellar. The cast includes Fred Casely (Brad Weatherford), Mary Sunshine (D. Fillinger), Go to Hell Kitty (Zoie Lee), Harry (Roberto Facchin), Aaron (Simeon Rawls), The Judge (Josh England), The Bailiff and also the court clerk (Timothy Scott Brausch), Martin Harrison (Roberto Facchin) and Malachi Alexander as Jury.
Fillinger is a delight who must be seen to be appreciated. But then each character proves worthy of such praise.
Female dancers adding much to this production include Eliza Levy as Liz, Christina Youngblood as Annie, Angelliz M. Rosaldo Ramos as June, Lindsay Lee Alhady as Hunyak and Faith Jordan Candino as Mona.
And through it all, Bob Fosse’s original choreography and the additions of Ann Reinking make one wonder how they can all be so good and so energetic and so strong. The production staff is as big as the cast.
Anyone who misses this show at the Broadway Palm should hope to catch it somewhere in North America between now and June. Kudos to Will Prather for putting this stellar production together in the theater’s 32nd season.
Tickets to Broadway Palm shows include a buffet dinner with several entrees and a wide choice of desserts. There is a $5 extra charge for Friday and Saturday dinner performances, which offer a choice from three additional entrees that are served at the table.
Salads, soup and dessert remain self-serve with what is a bountiful selection.
“Chicago the Musical” will play through Nov. 9 at the Broadway Palm Dinner Theatre, 1380 Colonial Blvd., Fort Myers. For times and tickets call the box office at 239-278-4422 or visit: BroadwayPalm.com
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