In the roaring twenties in Chicago, Roxie and another “Merry Murderess,” Velma Kelly, vie for the spotlight and the headlines, ultimately joining forces in search of fame and fortune.
Based loosely on a true story, Fosse, Kander & Ebb’s legendary and award-winning Jazz musical is the longest running musical on Broadway.
This sharp-edged satire features a newly conceived show with a dazzling score played by a live orchestra, sparkling choreography and period costumes. Like the 2002 movie of the same name, Chicago is one of the sexiest and most entertaining shows in Broadway history.
Chicago is presented by special arrangement with Samuel French Inc., a Concord Theatricals Company.
February 21 - March 1, 2020
8:00 PM – Feb 21, 22, 23, 27, 28, 29
2:00 PM – Feb 22, 23, 29; Mar 1
20 Queen St.
Dinner & A Show
Get 10% off your meal at Ganarascals with your "CHICAGO" ticket! Make your reservation by 6:30 for evening shows and 12:30 for matinees to be guaranteed to make it to the show on time - it's just a one minute walk around the corner from the restaurant to the Capitol Theatre.
Check out Ganarascals' new menu, where there are options for everyone from kids, to vegans, to your gluten-free friends. As always, Ganarascals is 100% nut free.
Chicago X Haute Goat
Cuddle a goat, have a great lunch, and see a fantastic show, all in one day!
Your day begins with at 10:30am with a tour of Haute Goat Farm, a breathtaking 200-acre farm just outside historic Port Hope. Discover the magic of Nigerian Dwarf Goats, Huacaya Alpacas, Icelandic Horses, Tornjak Livestock Guardian Dogs, and more.
At 11:00, take part in Haute Goat’s famous “shmurgle”. Described as “the joyful sound your heart makes when you snuggle a baby goat,” your shmurgle is full of goat snuggles, cuddles, and hugs. After a walk with the goats through the fields, you end up in the Goat Playground for some bonding time with the goats.
Lunch is served in The Screaming Goat Cafe and features fresh, playful dishes inspired by the season and local ingredients.
After lunch, you will make your way to downtown Port Hope (just 12 minutes away!) and the historic Capitol Theatre for a matinee performance of “Chicago”. This sharp-edged satire about the “Merry Murderesses” of the roaring 20s features a newly conceived show with a dazzling score played by a live orchestra, sparkling choreography, and period costumes. This is one of the sexiest and most entertaining shows in Broadway history.
NB: You are responsible for your own transportation. Make sure you wear appropriate clothing and footwear for an outdoor winter shmurgle!
Audiences have spoken – “CHICAGO” is a hit!February 22, 2020
The Comeback Kid: Tanya Wills in “CHICAGO”February 19, 2020
Killing It: CHICAGO’s Claire RussellFebruary 9, 2020
“CHICAGO” on The Nothing Exists Radio HourFebruary 7, 2020
Velma Kelly is a vaudevillian who welcomes the audience to tonight's show ("All That Jazz"). Interplayed with the opening number, the scene cuts to February 14, 1928 in the bedroom of chorus girl Roxie Hart, where she murders Fred Casely as he attempts to break off an affair with her.
Roxie convinces her husband Amos that the victim was a burglar, and Amos agrees to take the blame. Roxie expresses her appreciation of her husband's willingness to do anything for her ("Funny Honey"). However, when the police mention the deceased's name, Amos belatedly realizes that Roxie has lied to him. Roxie, feeling betrayed, confesses and is arrested. She is sent to the women's block in the Cook County Jail, where several women accused of killing their lovers are held ("Cell Block Tango"); among the inmates is Velma Kelly, revealing herself to have been involved in the death of her husband and sister, though she denies committing the act. The block is presided over by Matron "Mama" Morton, whose system of taking bribes ("When You're Good to Mama") perfectly suits her clientele. She has helped Velma become the media's top murderer-of-the-week and is acting as a booking agent for Velma's big return to vaudeville.
Velma is not happy to see Roxie, who is stealing not only her limelight but also her lawyer, Billy Flynn. Roxie convinces Amos to pay for Billy Flynn to be her lawyer ("A Tap Dance"), though Amos lacks the funds. Eagerly awaited by his all-woman clientele, Billy sings his anthem, complete with a chorus of fan dancers ("All I Care About is Love"). Billy takes Roxie's case before realizing Amos doesn't have the money; to make up the difference, he turns the case into a media circus and rearranges her story for consumption by sympathetic tabloid columnist Mary Sunshine ("A Little Bit of Good"), hoping to sell proceeds in an auction. Roxie's press conference turns into a ventriloquist act, with Billy dictating a new version of the truth ("We Both Reached for the Gun") to the reporters while Roxie mouths the words.
Roxie becomes the most popular celebrity in Chicago, as she boastfully proclaims while planning for her future career in vaudeville ("Roxie"). As Roxie's fame grows, Velma's notoriety subsides, and in an act of desperation she tries to talk Roxie into recreating the sister act ("I Can't Do It Alone"). Roxie turns her down, only to find her own headlines replaced by the latest sordid crime of passion ("Chicago After Midnight"). Separately, Roxie and Velma realize there is no one they can count on but themselves ("My Own Best Friend"), and Roxie decides that being pregnant in prison would put her back on the front page.
Velma returns to introduce the opening act, resentful of Roxie's manipulation of the system ("I Know a Girl") and ability to seduce a doctor into saying Roxie is pregnant; as Roxie emerges, she sings gleefully of the future of her unborn (nonexistent) child ("Me and My Baby"). Amos proudly claims paternity, but still, nobody notices him, and Billy exposes holes in Roxie's story by noting that she and Amos had not had sex in four months, meaning if she were pregnant, the child was not Amos's, in hopes that Amos will divorce her and look like a villain, which Amos almost does ("Mr. Cellophane"). Velma tries to show Billy all the tricks she has planned for her trial ("When Velma Takes The Stand"), which Roxie treats skeptically. Roxie, upset with being treated like a "common criminal" and considering herself a celebrity, has a heated argument with Billy and fires him; Billy warns her that her kind of celebrity is fleeting and that she would be just as famous hanging from a noose. At that moment, Roxie witnesses one of her fellow inmates, a Hungarian woman who insisted her innocence but could not speak English and whose public lawyer refused to defend her, as she is hanged ("Hungarian Rope Trick").
The trial date arrives, and Billy calms the now freshly terrified Roxie, telling her if she makes a show of it, she will be fine ("Razzle Dazzle"). Billy uses Amos as a pawn, turning around and insisting that Amos is actually the father of Roxie's child. Roxie steals all of Velma's schtick, down to the rhinestone garter, to the dismay of Mama and Velma ("Class"). As promised, Billy gets Roxie acquitted, but just as the verdict is announced, some even more sensational crime pulls the press away, and Roxie's fleeting celebrity life is over. Billy leaves, done with the case, admitting that he only did it for the money. Amos tries to get Roxie to come home and forget the ordeal, but she is more concerned with the end of her brief run of fame and admits she isn't pregnant, leaving Amos in the dust ("The Orchestra Doesn't Play").
The final scene cuts to a Chicago vaudeville theater, where Roxie and Velma (acquitted off-stage) are performing a new act in which they bittersweetly sing about modern life ("Nowadays"). The former Mary Sunshine, revealed during the trial to actually be a man in drag, takes his natural male form as a pushy vaudeville promoter, shaping Roxie and Velma's dance ("Hot Honey Rag") to make it as sexy as possible. The show ends with a brief finale ("Finale").
Courtsey of Wikipedia, used under the Creative Commons Attribution-Share-Alike Licence 3.0.
Cast & Creative Team
Conductor – Bruce Tonkin
Guitar – George Lee
Bass Guitar – David King
Woodwinds – Tom Box, Ted Brankston, Bill Cross
Drums – Tom Hall
Keyboards – Bruce McGregor, Pete Riccio
Trombone – Don Dawson
Trumpets – Chris Devlin, Andrew Jourard
Producer – Leslee Argue
Artistic Director – Jack Boyagian
Music Director – Marie Anderson
Choreographer – Alina Adjemian
Stage Manager – Cyndi Langford
Assistant Stage Managers – Jamie Finan, Jody Ledgerwood
General Production Asst. – Kara Besson
Mics/asm back-up – Kelly Paron
Properties – Jennie Ryan
Set and Projections Designer – Jim Finan
Co-Set Designer – Jan Crane
Set Construction and Build Leads – Frank Burns, Jim Abbott
Set Painter (lead) – Jody Ledgerwood
Set Decorater – Jennie Ryan
Lighting Designer & Set-up – David Scott
Go Button – Jim Finan
Sound Designer, Set-up & Sound Board – Andy Thompson
Costume Designer – Ann Hancock
Make-up – Mary Smith, Melissa Thatcher
Hair – Erin Martin
Graphic Designer (publicity) – Lauren Page Russell
Photographer – Gregory Kieszkowski
Rehearsal Pianists – Brenda Scott, Bruce McGregor
Watch for photos of Chicago closer to opening night!
Selena Forsyth, Northumberland News
I'm going to assume that unless you recently arrived here from another planet, you have heard of the musical 'Chicago'.
It was originally a play written in 1926 by Maurine Dallas Watkins, an American playwright and screenwriter, who worked briefly as a Chicago Tribune reporter. It was about two women, fictionalized as Roxie and Velma, who murdered their lovers in 1924 during prohibition. It was big news. Both were set free. In 1976, it became a musical; and in 1996 a Broadway revival.
I can tell you none of the previous versions can possibly hold a candle to the Northumberland Players production. It took seven months of rehearsals — many of the cast took two months of jazz dancing classes before starting rehearsals in October — and thousands of hours to get the choreography, musical direction, sets, props and costumes to the perfection you will see at the Capitol Theatre. Northumberland Players should be very, very proud.
It took 12 years for Northumberland Players to finally get the rights to perform 'Chicago'. Without a shadow of a doubt, it was worth the wait. What an extraordinary privilege it was to be there and experience the acting, singing, dancing and incredible gymnastics of this remarkable troupe.
It was sensational; the props, costumes, lighting, sets, sounds, projections, and backdrops. And the orchestra, sitting on its own stage above the players, was such an integral part of the production — just amazing! I wish I had the space to name every member of the cast and crew. Every single one is sensational.
If you’re chomping at the bit for more, perhaps check out a recent review by a Toronto critic, who was at the opening night, via https://insidelookingin60.wixsite.com/mysite/blog-1/review-chicago-the-musical-at-port-hope-s-capitol-theatre.
There are so many fabulous, unforgettable lines that it’s impossible to mention them all here, but I can’t resist sharing just one: “I started fooling around, and then I started screwing around, which is fooling around without dinner.”
Originally published in Northumberland News.
Joseph Szekeres, Inside Looking In
"... joy, contentment and happiness of accomplishment shone on every single face of this twenty-four-member cast whose diligent efforts in extra hours paid off in spades to ensure ‘Chicago’ was a true success for this spirit of community theatre folks of The Northumberland Players."
"Not a cookie cutter rural production. This was unique, high bar showmanship and worthy of sold out performances."Ronald W., patron
"'CHICAGO' was outstanding! Congratulations to all involved in bringing this challenging show to life with such energy and passion!"Jessica O., patron
"Go see it while you have a chance. Amazing dancing, fabulous singing, the whole show is really so professional. We're so lucky to have [the Northumberland Players]!"Fionna B., patron
"Great leads and large cast of singers/dancers, fabulous sets and costumes, and live pit band above the stage – WOW!!!"Bruce M., patron
"We are used to high standards of performance for the Players, but with this one they have surpassed themselves. As ever, I am amazed by the depth of local talent."Gail R., patron
"What a fabulous show! Kudos to the entire cast and crew. A magnificent achievement in community theatre and such great local talent."Catherine H., patron
The Capitol Theatre
The Capitol Theatre is located in downtown Port Hope, right beside Memorial Park.
20 Queen St.
Port Hope, ON
Parking is available in public lots behind the theatre and town hall (off Elias St.).
Street parking is available around the theatre.