Chicago, the play

It’s 1926 and we’re in downtown Chicago, where stories of wives and mistresses murdering their husbands and lovers permeate the newspapers and air. Only that we’re not. We’re in Q Theatre, downtown Auckland. There’s a tiny audience and we’re seated in a handful of panoramic rows around the stage; so close you can feel the breath of the actors on you, and smell the sillage left lingering long after their movements have ceased. Michael Hurst’s intimate adaptation subscribes to a playful and contemporary take on one of the most famous musicals of our time; Chicago. Blow-up sex dolls make up half of the cast; with the few remaining cast members assuming the role of more than one character. The set design is also minimalistic, but that is all that’s needed with acting so engaging, and music so powerful. Run along to one of the extended sessions (implemented by virtue of popular demand). It would be a crime in and of itself to miss this little masterpiece while it’s in our city.

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