IT seems Lucy Davies is a woman of many talents.
Not only can she sing and dance, but the Petersfield Theatre Group (PTG) stalwart can also speak Hungarian pretty well.
Such was the impression she gave while treading the boards as Hunyak in Cell Block Tango – one of Chicago’s stand-out songs.
But although her grasp of a notoriously difficult language was impressive, her accompanying jailbirds also deserve plenty of plaudits for their part in a very entertaining show.
And while Sarah Jupe (the media-loving murderer Roxie Hart) and Hannah Osbourne (Velma Kelly) had the lead roles, this PTG show was really the sum of its parts with plenty of top-notch performances.
The jazzy opening Overture, featuring some sterling trumpet work from Alan Flood, set the tone nicely with Osbourne showing off her strong voice and range in the following And All That Jazz. Roxie and her cheating lover make their entrance around the same time with a raised platform acting as the bedroom. The pair mimic the ‘action’ by lying down and flaying limbs before gunshots bring the music and scene to a close.
Cell Block Tango was well choreographed and it was pleasing to see director Libby Stockel didn’t repeat the same routine that featured in 2018’s Showtime. There was less flesh on show this time, too, although the orchestra did threaten to drown out their individual murderous tales.
Girls’ leader Mama Morton (Hannah Lattimer) extolled dominance in When You’re Good to Mama while Conrad Stephenson’s take on Roxxy’s suffering husband Amos Hart was full of pathos and longing.
Mark Perry was sensational as slimy lawyer Billy Flynn: the cross between a showman and Evangelical preacher, you expected him to say ‘can I get an Amen?’ at times. He’s also blessed with a terrific voice, impressing alongside the girls in the fun All I Care About and holding his tonsils impeccably in the outro to Razzle Dazzle.
According to the programme Jupe has longed for a role like Roxie and she didn’t disappoint under the spotlight, repulsing with her shunning of Amos and craving for the limelight.
The courtroom scene, featuring George Stephenson as the judge – he always seems to get bit-part roles these days, which seems a bit of a shame – was fast-paced and looked and sounded every bit the show trial. Its comedy, especially Jupe’s about-turns and crocodile tears, was also the perfect antidote to the show’s most downbeat moment, with a falling noose signalling the end of “not guilty” Hunyak.
It all ends with Roxie and Velma on the outside and seeking to further their 15 minutes of fame. Hannah Osborne didn’t put a foot or note wrong playing the latter and you could easily imagine her entertaining a smoky crowd in a speakeasy.
By Paul Ferguson