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T h e...N A T I O N A L...D R A M A...A N D...T H E A T R E...S E L E C T I O N |
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Sterijino Pozorje Festival |
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Novi Sad |
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May 26th - June 4th 2007 |
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SATURDAY - MAY 26th 2007 |
Grand Stage, Serbian National Theatre |
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19:30 |
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Fred Ebb, Bob Fosse, John Kander
CHICAGO
Terazije Theatre, Belgrade |
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Based on the play ‘Chicago’ by Maurine Dallas Watkins
Text FRED EBB, BOB FOSSE
Music JOHN KANDER
Songs FRED EBB
Director
KOKAN MLADENOVIC
Choreographer MOJCA HORVAT
Conductor, arranger MILAN NEDELJKOVIC
Translation, adaptation, dramaturgy MARIJA STOJANOVIC
Costumes designer
LANA CVIJANOVIC
Set designer MARIJA KALABIC
Stage speech
RADOVAN KNEZEVIC
Assistant director ELIZABETA DJOREVSKA
Assistant choreographer
SNEZANA VESKOVIC
Assistant costumes designer MIRNA ILIC
Ballet accompanist
TANJA RADUNOVIC
Drama and soloists accompanist
VLADIMIR VUJOVIC
Choir accompanist
TATJANA NIKOLIC
Concertmaster BILJANA JOVANOVIC
Premiere:
October 19th & 20th 2006 |
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Velma Kelly |
IVANA KNEZEVIC |
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Roxie Hart |
SLOBODA MICALOVIC |
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Amos Hart |
NIKOLA BULATOVIC |
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Billy Flynn |
DRAGAN VUJIC - VUJKE |
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‘Mama’ Morton |
HANA JOVCIC |
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Mary Sunshine |
ELIZABETA DJOREVSKA |
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Master of Ceremonies, Sergeant Fogarty, Doctor, Martin Harrison |
MIROLJUB TURAJLIJA |
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Liz |
BOBA LATINOVIC |
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Annie, Kitty |
ANA MALJEVIC |
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June |
VESNA PASTROVIC |
Hunyak |
NATASA BALOG |
Mona |
JELENA COSIC |
Fred Casely |
IVAN ZEKIC |
Aron |
LJUBISA DINCIC |
Judge |
MILAN GROMILIC |
Bailiff |
DUSAN SIDA |
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Policemen |
LJUBISA DINCIC, MARKO NENADIC |
Journalists, jury members, citizens |
Boba Latinovic, Ana Maljevic, Vesna Pastrovic, Natasa Balog, Ivan Zekic, Ljubisa Dincic, Dusan Sida, Marko Nenadic, Milan Gromilic, Nebojsa Gromilic, Nemanja Naumovski, Igor Naumovski, Uros Petronijevic, Jelena Cosic, Elena Veskovic, Milica Pavlovic, Katarina Cankovic, Kristina Cankovic |
Choir |
Jasminka Nikolic, Jelena Mit, Marcela Lukic, Tatjana Popovic, Sandra Peic, Natalija Radic, Dusica Rajic, Zorica Boskovic, Biljana Pekovic, Dina Travica, Sanja Markovic, Aleksandra Bijelic, Zoran Doronjski, Branislav Jovic, Voja Orlic, Marko Bogdanic, Dejan Strahinjic, Bojan Gavrilovic, Jovan Nikolic, Darko Pavlovic, Aleksandar Novakovic, Nenad Nenic |
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Orchestra |
Vladimir Mandic, Zoran Kovacevski, Mladen Lukic, Mihailo Bogosavljevic, Maja Hajdukovic, Aleksandar Petkovic, Aleksandar Ruzicic, Ana Rajkovic, Vojislav Dukic, Ivan Rankovic, Ivana Mateic, Borivoje Spasojevic, Marija Ristic, Anica Ivancevic, Ivana Pavlovic/Aleksandar Miletic, Dragan Kresic/Uros Rankovic, Vlastimir Blagojevic, Dejan Stojadinovic, Zelimir Vasic, Nikola DJokic |
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| TERAZIJE THEATRE, BELGRADE |
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The history of the Terazije Theatre begins in 1949. For over half a century of its existence, its name has been changed several times: it was founded as the Comedy Theatre, only to be renamed in 1954, bearing the name of the Belgrade Comedy until 1959. By merging with the Belgrade Drama Theatre in autumn 1959, it became the Contemporary Theatre, while the plays were performed on both stages: the Crveni krst Stage and the Terazije Stage. However, with the new season of 1975/1976 it became independent once again, operating under the name it still has - the Terazije Theatre. Because of the complete restoration of its building in Terazije, the plays were held on the Theatre T Stage, located at number 77a Kralja Aleksandra Boulevard, from 1991 until the theatre returned to its original house. The Terazije Theatre has constantly been enriching its drama, orchestra, ballet and choir ensembles with new, primarily young, talented and educated artists for over five decades of its life. This has always brought it a dominating tone of artistic freshness, which the audiences have unmistakeably recognised. With the passage of time the Terazije Theatre, initially positioned as a theatre of mostly popular and light comedy genre, grew with every season, becoming not only more ambitious in its repertoire but also valued more by the cultural public as a theatrical institution of high potentials and relevant artistic achievements.
In the season of 2005/2006, on its old-new stage restructured according to the highest world standards and with state-of-the-art technical equipment, the Terazije Theatre started its new life - with the musical show Limelight staged by Stevan Bodroz, as well as the premiere of the musical A Chorus Line directed by Mihailo Vukobratovic, followed by Molière’s The Learned Ladies directed by Jagos Markovic, the domestic musical Come Down to Earth by Gordana Goncic, directed by Jug Radivojevic, a revival of the cabaret Imagine Life by Milenko Zablacanski, Ivana Dimic’s musical Pauper, and finally the premieres of Predrag Perisic’s musical comedy Heroes directed by Slavenko Saletovic and Aleksandar Djaja’s musical horror comedy Jevrem’s Life directed by Stefan Sablic. In the new season of 2006/2007, the premiere of the musical Chicago directed by Kokan Mladenovic was followed by revivals of the musicals Kiss Me, Kate and Front Cover Babe, as well as the revival of the Broadway musical Some Like It Hot, which, directed by legendary Soja Jovanovic, saw its first opening at the Terazije Theatre on 27th December 1990. |
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P E R F O R M A N C E...... |
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The musical is set in the American city of the same name notorious in the 1920s. The main plot revolves around an irresistible blonde Roxie, an unaccomplished bar singer and a woman who has murdered her lover, because ‘nobody will leave her!’ In prison she meets a well-known bar singer, really ‘deadly’ brunette Velma (who has murdered both her sister and husband after catching them together) - just like other female inmates, most of whom are in prison for murdering their adulterous partners. Velma hires a famous attorney to defend her, whose only concern when taking her case is if she has the 5,000 dollars for his fee. As soon as Roxie accepts to pay such a high fee, the attorney begins an unscrupulous manipulation of the media, but also of Roxie herself...
In spite of the seemingly dark plot depicting the American society with sharp satire, musical Chicago was very popular with the audience. Reasons for such success are found in, primarily, excellent music and choreography by Bob Fosse, as well as his remarkable directing, which introduces the world of gangster Chicago as a great cabaret. The second reason of its success lies in the fact that the years of its premiere - the 1970s - brought a great disappointment into the so called ‘American dream’ to the citizens of America, and by revealing the truth about the Vietnam War, they brought to the ‘stage’ the real picture of the hypocrisy of the American public moral. The third reason for its popularity was the fascination of the audience with its photogenic picture of Chicago, with its recognizable gangster image, attracting audiences with its irresistible ‘forbidden fruit’ aroma: alcohol during the period of prohibition and crazy nights with the women of ‘loose morals’.
Chicago is based on a true story: it was born when Maurine Watkins, a reporter for the ‘Chicago Tribune’, got an exclusive right for an interview with a striptease dancer who had murdered her lover. Based on the interview, the journalist wrote the play Chicago as a school assignment for her Drama Writing course at Yale University. The drama was staged on Broadway in 1926, seeing 172 shows to be later adopted for film twice: first a silent movie called Roxie Hart, and then a sound movie featuring Ginger Rogers in the lead role.
Musical Chicago (Broadway production in 1975) only reached its true fame in 1996, when it was staged ‘in the style’ of the original Fosse’s production once again. The following year Chicagoreceived a number of awards, among which were 6 Tony Awards (the American theatrical Oscar). Besides its recently filmed A-class Hollywood adaptation (Renée Zellweger, Catherine Zeta-Jones and Richard Gere), it still plays on Broadway before full audiences. |
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REPORT
OF ARTISTIC DIRECTOR......
AND SELECTOR...... |
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As everyone knows from the famous Hollywood film adaptation, the musical Chicago depicts a colourful gangster ambiance of Chicago in the 1930s where we follow the stories of murderesses to whom a corrupt lawyer, by manipulating the justice system and the media, secures an acquittal. In addition to this general criticism of the moral decline of the prison and justice systems, the media and show business, director Kokan Mladenovic successfully incorporates allusions to the typically Serbian bond between entertainment and crime. The greatest value of this show of the Pozoriste na Terazijama theatre, the only music theatre in the Balkans, lies in its high performing standard and the effect of a real stage spectacle.
Ivan MEDENICA |
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KOKAN MLADENOVIC, director
Born in Nis, 1970.
He matriculated from the High Drama School in class of Mima Vukovic-Kuric and graduated from the Faculty of Dramatic Arts in Belgrade, Department for Theatrical and Radio Direction - class of Miroslav Belovic and Nikola Jevtic (1993).
Directed: (selection)
Shakespeare, Bunuel, Miller, Hamlet; Harms, Incidents; Tirso de Molina, The Seducer of Seville and the Stone Guest; Beumarchais, The Marriage of Figaro; A. Popovic, The Evolutionary Road of Bora the Tailor, The Spawning of Carp; Aristophanes, Maricic, Mladenovic, Lisistrata; V. Lukic, The Affair of the Innocent Annabelle; V. Ognjenovic, How to Make the Master Laugh, Was There Ever Knez’s Dinner; Agota Kristof, The Notebook; D. Kovacevic, The Marathon Family, The Balkan Spy, The Meeting Point; S. Selenic, Scolding the People in Two Acts; Ibsen, Per Gint; Shakespeare, Twelfth Night, A Midsummer Night’s Dream, Taming of the Shrew; Lj. Simovic,The Traveling Theatre Sopalovic; Goran Petrovic, K. Mladenovic, The Siege of the Saint Salvation Church; Goran Stefanovski, Bacchanalias; Bulgakov, K. Mladenovic, The Master and Margarita; Mirjana Novakovic, K. Mladenovic, Fear and Its Servant; Goran Petrovic, The Ferry; Tolkien, K. Mladenovic, The Hobbit; J. M. Barrie, M. Stojanovic, Peter Pan; Enda Walsh, Disco Pigs...
Mladenovic has directed Alan Ford by Magnus and Bunker at the theatre ‘Pozoriste na Terazijama’ as well as Peace, after Aristophanes, by Maricic and Mladenovic.
He has participated in Sterijino pozorje five times: with plays Evolutionary Road of Bora the Tailor by Aleksandar Popovic, The National Theatre (NT) Belgrade, 1995; The Affair of the Innocent Annabelle, The National Theatre Sombor, 1998; Scolding the People in Two Acts, NT Beograd, 2000; Cuba Libre by Ivan M. Lalic, The Serbian National Theatre (SNT) Novi Sad, 2001; The Siege of the Saint Salvation Church by Goran Petrovic, NP Sombor, 2002.
He has received the ‘Bojan Stupica’ Award as well as three Sterija Awards: in 1998, for adaptation, The Affair of the Innocent Annabelle (NT Sombor); in 2000, for adaptation, Scolding the People in Two Acts (NT Sombor); in 2002, for dramatization, The Siege of the Saint Salvation Church, NT Sombor) and a number of significant awards at festivals in Serbia and Montenegro. |
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A BITER PILL IN SUGAR COATING |
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(...)Chicago is perhaps closer to Brechtian understanding of theatre than it is to classical musical, the way we are used to understand it. It is a very dark story, a serious social satire about, we could say, Chicago in the 1920s. At the very beginning the Master of Ceremonies leads us into the world of corruption, adultery, corrupt judiciary system, bribable police, show business, scandals, and when you observe that you realize it bears a resemblance to Serbia today, where everything can be bought, everything is stained with political primitivism and show business which pervades all spheres of society. Chicago can be read as a serious dramatic text, a remarkable social satire expressing, through music, its protest against everything deviant in our society today.
(...) In Chicago there is a play within a play, through which Roxie Hart, who naively enters the world of show business and crime, learns where she actually lives, she learns that the rules that society lives by are far from truth, justice and morality and that there just is no crime that necessarily requires a punishment. There is an acquittal for everything; it is only a question of skill and price attached to it. (...)
Chicago is not some lovely musical from the 1920s staged because of its superb singing or to make a spectacle. It is a bitter pill with sugar coating...
Kokan MLADENOVIC - Borka TREBJESANIN (Politika, July 2006) |
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MOJCA HORVAT, choreographer
Having received an American scholarship in 1983, she studied jazz, step and musical on Broadway. Since 1989 Mojca has been leading a dance studio. For her groups she has staged about two hundred and fifty choreographies for competitions, forty of which have received either the world or European champion titles. Besides this, Mojca has made nearly 40 choreographies for plays, for 6 films, close to 350 choreographies for TV, 14 musicals, 8 operas, 5 cabaret shows and about 15 musicals for children.
She has dedicated herself primarily to choreography and directing of musical-stage projects in the last couple of years. The World Association of Dance (IDO) awarded her the title of the Choreographer of the Year in 2001.
Choreographies of musicals, operas and operettas:
The Split Watercolors (The Croatian National Theatre - CNT, Split), Phoenix (Raimundtheater, Vienna), Kiss Me, Kate, Caroline of Rijeka , Jalta, Jalta (CNT ‘Ivan Zajc’, Rijeka), Chicago, Cabaret (SLJG, Celje), Little Shop of Horrors (Company No 5, Salzburg), Little Shop of Horrors (PDG, Kopar), Nunsense I, Nunsense II, Grease (Sentjakobsko gledalisce, Ljubljana), Arabella (Cafe-teatar, Ljubljana), Cisto cezz I, Cisto cezz II (Gledalisce Gabriel, Celovec-Klagenfurt), Vse o snobih... (Teater Komedija, Ljubljana), Hoffman’s Stories, A Night in Venice, Tiresijine dojke, Turcin u Italiji (Opera and ballet, SNG Ljubljana), In Love With Three Oranges (Cankarjev dom both Opera and ballet, SNG Ljubljana), The Fireworks (SNG Maribor), Show White Opera (Festival Ljubljana and Opera SNG Ljubljana)... |
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BOB FOSSE (Robert Louis Fosse) - (Chicago, 1927 - Washington, 1987) - Director, choreographer, dancer, actor
As a son of a vaudevillian he appeared in burlesques when he was only a child. He studied ballet, step, acrobatic dance and later acting. Fosse first appeared on Broadway as a dancer in the musical Dance Me a Song in 1950. In the early 1950s he made noted appearances as an actor and dancer in film musicals Give a Girl a Break and Kiss Me, Kate. 1954 saw the beginning of his successful career as a Broadway choreographer. In 1955 Fosse started working as a film choreographer as well; by the end of the 1950s he made noted choreographies for the films My Sister Eileen, The Pajama Game etc. He debuted as a director with Sweet Charity, dedicated to Fellini’s Nights of Cabiria. In the late 1960s he intensively worked as a director and choreographer for theatrical plays one of which is Chicago. Fosse made a great entrance into the world of film with his Cabaret (1972), an attractive reconstruction of life in Berlin just before national-socialism took over the country (eight Oscars). Highly praised as the best music film director he made the film Lenny in 1974, a (black and white) screen adaptation of the American cabaret dancer Lenny Bruce’s biography; in 1979 film All That Jazz, an autobiographical story of a director/choreographer’s crisis (modeled after Felini’s film Eight and a Half). Fosse’s last film was Star 80 made in 1983 while the last musical he wrote, choreographed and staged was Big Deal (1986). |
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JOHN KANDER & FRED EBB
John Kander (Kansas City, 1927). He received his music education at the Oberlin College and Columbia University. Fred Ebb (New York, 1932). They both started their careers working on different musicals and Broadway shows. In 1962 they worked together to compose two songs for Barbara Streisand, who was a rising star at the time. One of them, ‘My Coloring Book’, became a great hit, which opened the way to success for this pair of composers. In 1965 their first musical Flora, the Red Menace appeared on Broadway, which featured another megastar to be, Lisa Minnelli. Their next musical Cabaret (1966) became a great success and one of the most praised musicals of all times. With Bob Fosse’s help Kander and Ebb wrote and staged musical Chicago in 1975. Although the musical was nominated for the Tony Award in as much as eleven categories, it did not receive any. Chicago met with renewed interest in 1996 after it was staged again by Ann Reinking and the talks about its film adaptation began around the same time. Aside from the film versions of Cabaret and Chicago, Ebb and Kander wrote several separate film scores which became great hits: the most famous among them is the main track for the film New York, New York (1977). |
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The artists of the ‘Pozoriste na Terazijama’ have many reasons to celebrate, because they have succeeded in accomplishing the well-known musical ‘Chicago’, based on the text by Fred Ebb and Bob Fosse, music by John Kander and songs by Fred Ebb, in the great style of Broadway theatres.
There is almost no disharmony in the performance of this demanding theatrical genre, mainly thanks to director Kokan Mladenovic and choreographer Mojca Horvat, who have managed to inspire everyone involved - those on the stage as well as those behind the scene - for this long-running popular spectacle, so their joy for having the opportunity and ability to accomplish this kind of theatrical show which, fails to take root in our parts even after several decades, cannot go unnoticed.
What could be seen at its first premier (19th October) is the result of serious work on the part of the actors, dancers, choir and orchestra conducted by temperamental Milan Nedeljkovic. The administration of ‘Pozoriste na Terazijama’ obviously gave its full attention to the preparation of this show engaging experienced choreographer Mojca Horvat, whose numerous choreographic achievements have received world and European awards and recognitions. Two-week-long expert workshops held by Chet Walker, a dancer and educator who used to assist Bob Fosse and is now Director of the Jazz Department at Jacobs Pillow University in New York, had a special impact on better understanding and acceptance of jazz dance style. His extremely useful visit was organized by the magazine for art dance Orchestra together with the American Embassy in Belgrade.
Besides wholehearted recognition to the leading role actors at the first premiere - Katarina Gojkovic, Jelena Jovicic, Milan Antonic, Ivan Bosiljcic, Zinaida Dedakin and Nebojsa Babic, as well as the omnipresent Master of Ceremonies Miroljub Turajlija, who copied Joel Grey from the film ‘Cabaret’ extraordinarily well - unexpected and true heroes of the show seem to be the members of the choir and ballet ensemble. Following the National Theatre’s production ‘Who’s That Singing Over There’, which already regarded as anthological, and musical ‘Chicago’, it is clear that our performers can dance, when there is will and guidance from experts, heartily, amazingly harmoniously, fast, passionately and violently. This kind of jazz dance interpretation was not only delivered by dancers, but rather by all participants in this musical, bringing the spirit of Broadway to Belgrade - finally.
Milica ZAJCEV (Danas, October 23rd 2006)
In the American commercial theatre there is a system of previews: the play goes on tour so that it has a chance to catch on before it comes to Broadway and is performed before critics-executioners who sometimes have the power to take it off the repertoire. In our country there is no preview system, nor do we care much about the opinion of critics, but due to a chain of events, this text about the Broadway musical Chicago, staged by the Pozoriste na Terazijama Theatre, actually comes a month and a half after its premiere, when it had already earned the status of a hit show, so critics can bring no harm to it - not even theoretically - alas! This ‘chain of events’, resulting in this text being so late, is partially caused by the Broadway nature of the project, and partially by Force Majeure: the show has two equal casts - critics are required to see both, some of the performers were ill, so... Are you curious only to find out which one is better?
The musical Chicago has become widely known after its recent Hollywood film adaptation, but a less known fact is that its theatrical version (music by John Kander and text by Fred Ebb and Bob Fosse) was extremely popular. The reason for such popularity probably lies in the colourful and now already legendary gangster ambiance of the 1930s Chicago, which even numerous filmmakers couldn’t resist, but no Bertolt Brechts among them. In this milieu, we follow a story about a women’s block in a prison, where a corrupt lawyer secures an acquitting sentence in exchange for a great amount of money, by manipulating justice and the media. They save their skin, but lose their fame, because there is always some new unprotected innocence which needs saving, a new poor soul who, surely, isn’t guilty - as none of her predecessors were - for killing some male trash... In the background of this light and entertaining story lies hidden a cynical picture of the total moral decline of the prison and judicial system, the media and show biz.
Just like with Chorus Line, the previous Broadway musical staged at the Pozoriste na Terazijama Theatre, it seems that once again the major segment of the directing and choreographic score was standardized and defined in advance. This, however, by no means lessens the effect of a highly professional level achieved by the creative team: director Kokan Mladenovic, conductor Milan Nedeljkovic, choreographer Mojca Horvat, set designer Marija Kalabic and costume designer Lana Cvijanovic. The engagement of Mojca Horvat, a guest from Slovenia, is particularly outstanding - she has obviously thoroughly drilled our cast and established a rather solid level of dancing, considering the possibilities of Serbian music theatre. Spatial and mise-en-scène solutions made by Kokan Mladenovic and Marija Kalabic are clear, imaginative and easy to follow as much as allowed by the Broadway concept of the show (the effective combinations of different perspectives of the stage performance); this stage inventiveness comes to the foreground mainly in details, such as, for example, the different stage concepts in two versions of lawyer Flynn.
The aforesaid difference in the directing of this particular scene can be observed, among other things, in an essentially different general staging of the character of the corrupt lawyer in two different casts, which is due to the significant difference in age and looks of the actors (no other character is so different in the two versions). Dragan Vujic Vujke brings him in a refined standardised manner - as an angry, cold and serious professional, while Ivan Bosiljcic depicts him as a somewhat jovial seducer - Clark Gable moustache included - but he fails to consistently and clearly develop this line (in the dancing and singing segments that is, in contrast to the dramatic ones, where Bosiljcic shows more confidence). Ivana Kneževic and Katarina Gojkovic, in the role of the ex-prison vedette Velma, have both reached an equally high singing standard, but Kneževic brings her character as more dramatically plastic, giving it many layers, as a scornful and domineering persona who, when beaten by the competition, shows great strength and vitality, making an honest effort to stay in the game. Sloboda Micalovic adds to the advantage of the first cast by brining the newly arrived prison vedetta Roxie as an openhearted, healthy and lively character; on the contrary to this rendition, it seems that Jelena Jovicic wanted to act her Roxie as a bimbo, but her concept of this character stayed undeveloped and general.
The same balance of power between the two casts is reflected in the performance of the smaller roles as well. Nikola Bulatovic gives some sort of warmth, a dose of naiveté and nobility to the character of Roxie’s incapable husband Amos, while as given by Milan Antonic, he is reduced to a fool. Neither interpretation of Mama Morton, the matron of the prison unit, is dramatically completed, but the concept shown by Hana Jovcic, which interprets her as a mannish-looking woman with lesbian inclinations, is more interesting than the forced and standardised rendition of Zinaida Dedakin, which depicts her as a corrupt and strict policewoman. Miroljub Turajlija deserves to be singled out from both casts, in his role of the bisexual and diabolical narrator (excellent step dancing), as indeed does Natasa Balog in the emotionally powerful role of the Hungarian girl Hunyak, one of the prisoners who, although innocent, gets sentenced to death.
Mentioning this tragic destiny brings us to one significant feature of the play Chicago (significant at least for those of us who are obsessed with politics); while establishing a very high professional standard of entertaining theatre, Kokan Mladenovic hasn’t missed out on the opportunity to emphasise the critical potential of this musical, in different ways. Besides the universal criticism against the travesty of the judicial system (the scene in which the trial becomes an orgy, and the figure of Justice is depicted as a striptease dancer), a reference to the typical union between show-biz and crime can be recognised in the performance given by two ex-competitors, with an artist whose cross on a chain gets into her cleavage while she shouts "God save you all“. Thus, paradoxically, the project of entertaining theatre becomes utterly politically subversive, in contrast to the cases, such as the Blues for Messiah, where artistic theatre turns into a gruesome show-biz spectacle.
Ivan MEDENICA (Vreme Nr. 831, December 7th 2007) |
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.The management preserves the right to change the schedule
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Copyright
: Sterijino pozorje 1998-2007.
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