Cuba Gooding Jnr speaks about playing Billy Flynn in Chicago

As Cuba Gooding Jnr settles into the role of Chicago's Billy Flynn at the Phoenix Theatre, he briefly spoke with JonathanBaz.com contributor Josh Kemp about the challenge of the West End stage.

Many celebrity stars in recent years have taken on the role of Billy Flynn, the most esteemed defence lawyer in Illinois’ showbiz history. From the likes of Jerry Springer who’s neither a stranger to showbiz or politics (aren’t they the same nowadays anyway?) to David Hasselhoff!

This time around the man filling Flynn’s shoes is none other than Hollywood's Oscar-winner,  Cuba Gooding Jr. Fresh from playing the notorious defendant in television's The People vs O.J.Simpson, Cuba is no stranger to sensational court-room drama - albeit that the Cook County courthouse does come with a little more razzle dazzle. And Gooding Jnr. brings a fresh energy to the role that works perfectly. 

Showered and robed after the show, Cuba spoke to me about how the contrast he’s experiencing between the West End’s live theatre and appearing before a camera. He summed it up perfectly:

 “In TV & film there’s a few takes and then its on to the next scene and there isn’t really time to connect with what you’re doing in the moment as you quickly move on to the next part. On stage every night is different, how your fellow cast perform, the energy from the crowd, everything is different and this adds to your performance and makes every night a challenge that’s new and engaging”

Chicago remains a fun and enjoyable night out, right through from the first number to the final curtain. To catch up with my review of this revival, click here. To read my interview with Josefina Gabrielle, currently playing Velma, have a read here.

Chicago - Review

Phoenix Theatre, London



****


Music, lyrics and book by John Kander & Fred Ebb
Directed by Walter Bobbie

Cuba Gooding Jnr.

Returning to London after some years, Chicago proves why it is one of the longest ever running revivals to still be playing on Broadway. Kander & Ebb’s genius lies in focusing on complex, troubling aspects of humanity and viewing them through the prism of satirical musical theatre. But where their other works (say Cabaret or The Scottsboro Boys) have an underlying horror that rightly pricks our consciences, Chicago's guilty pleasure is that much of its satire proves to be deliciously enjoyable.

The action mainly plays out in Illinois’ Cook County jail where female felon Velma Kelly (who had murdered her husband and his lover as they were caught in-flagrante) finds herself joined by new inmate Roxie Hart (who had shot her lover as he walked out on her). In their quest for liberty rather than the gallows, both women hire celebrity lawyer Billy Flynn to fight their case. Flynn in turn, much like a modern-day Mark Anthony (or should that be Max Clifford?) seeks to play to the public’s emotions and outcries by garnering as much press coverage as he can for his sensational clients in the hope of achieving their acquittal.

Over the years, and on both sides of the Atlantic, Chicago's producers have acquired a reputation for parachuting celebrities into leading roles, with little regard to their song or dance expertise, but rather with an eye on their ability to bring a different star quality to the show, as well as to get bums on seats. So it is here, with Hollywood leading man (and Oscar winner) Cuba Gooding Jnr making his West End debut as Billy Flynn. While Gooding Jnr may not have the finest voice, he delivers impact, presence and above all credibility to the smooth-talking shyster he portrays. The wicked twinkle that he brings to Flynn more than justifies the producers’ gamble in hiring him.

Elsewhere however there is musical theatre excellence as Josefina Gabrielle brings a sultry wisdom, alongside a vocal and physical athleticism to Velma. A veteran of the London show from the last time around (where she played Roxie), hers is an assured, delightful interpretation. Also back in the London show, Sarah Soetaert reprises her Roxie Hart in a solid performance that doesn’t disappoint.

The eye-opening casting, aside from Cuba Gooding Jnr., is Ruthie Henshall who completes a personal hat-trick with the show by playing jailer Mamma Morton. Seasons past have seen Henshall not only play Velma, but also be London's first ever Roxie when Chicago opened at the Adelphi Theatre in 1997. Henshall may not have quite the burlesque/statuesque presence that When You’re Good to Mamma demands, but her vocals are unsurpassed. She and Gabrielle make the duet Class, class.

There’s fun stuff too from Paul Rider as the ineptly cuckolded Amos Hart, jazz-handedly delivering Mister Cellophane to one of the evening’s loudest cheers.

Choreographed by Ann Reinking in the style of Bob Fosse, this staging which is now into its third decade, speaks of a world that is highly sexually charged. The costumes are provocative with both men and women (aside from the two male leads)scantily clad, in outfits outlining provocative sexuality. Recent months of course have seen sexual politics being radically re-evaluated, and against that backdrop it is interesting to consider Chicago's own distinct stance on the matter. Kelly, Hart and Flynn understand the power of sex, while the Cell Block Tango number is a celebration of women who (for the most part) have exacted righteous retribution on the disappointing or treacherous men in their life. It's a complex argument for sure but at least within its on-stage iteration, Chicago's women are victors rather than victims.  

Chicago remains fine Fosseian musical theatre. Strong story, stylish dance, and Kander & Ebb’s brilliant songs. Class, indeed.

Booking until 6th October

Photo credit: Tristram Kenton

Josefina Gabrielle talks about Chicago

Sarah Soetaert and Josefina Gabrielle

As Chicago returns to London, I spoke with Josefina Gabrielle who as Velma is sharing the show’s leading credits, about the piece and her career.

Josefina:    Well, it's the longest running American musical. It's been running for 21 years on Broadway and it is wonderful to have it back in the West End. Chicago holds a very dear place in my heart, because I've had so many wonderful experiences with it. And I also have to admit an obsession with it too! Before I’d even saw the show, the original cast album had been a favourite of mine. I love to watch it and I love being in it.

It also has a real international appeal. Not only do theatre lovers come to see the show, but it brings other audiences too. It makes me feel very proud, and Cuba Gooding Jr., by the way, is a diamond. We love him, an absolute superstar. He's a true star - a lovely, warm, funny man and an excellent company leader too. And of course, to work with Ruthie Henshall is a privilege and a dream. I've followed her for years and admired her and we've meet socially on occasions too, but to finally get to work together, and to sing Class with such a classy lady, is a thrill.

JB:    You’re playing Velma but when Chicago was last in town you played Roxie. Tell me about that contrast.

Josefina:    It is terribly interesting, because I played Roxie for the first time, 18 years ago. I went in and out of Chicago on various occasions during its run. I think the last time I was involved as 10 years ago. So now I am Velma watching Roxie, having been Roxie watching Velma.

I suppose, maybe because of who I am now, 18 years later, my Velma certainly feels very grown up. Looking back at Roxie, I felt more sort of twinkly and girlie then. Now I feel more calculating, more of a planner, whereas Roxie didn't really think about consequences. She sort of turns on a six pence and just cleans up as she goes along, whereas Velma is more calculating. 

JB:    You’ve played a number of phenomenal roles in recent years. What have you brought from your experience to date, to add to your take on Velma?

Josefina:    Interestingly and thinking of Merrily We Roll Along from four years ago, I've tapped into Gussie quite a few times. 

JB:    The sexual politics of Chicago take on a different hue post-Weinstein. This production’s publicity shots follow the tradition of presenting Roxie, Velma and here, Mama Morton too, clad in underwear, while Billy Flynn (and Amos) remain fully clothed. How can that styling be explained, today?

Josefina:    I feel that the entire company, men and women, with the exception of Billy and Amos maybe, are owning their life with sexuality and physicality. Fosse is such a very strong, wonderful style of choreography, and we are wearing outfits and costumes that represent that style of the show and its dance.

If you think of any ballet company, any dance company, it's no different. It is a dance and singing and acting show, so you're covering everything, really. I don't feel anyone is being exploited or feeling weak, because of what they're wearing. 

JB:    Tell me your thoughts on performing Kander and Ebb's work. 

Josefina:    My experience with Kander and Ebb and also Rodgers and Hammerstein are that the subjects that they pick are so fascinating and very often ahead of their times. How they portray those subjects, the structure of the shows and the music is just so wonderful, such brilliant numbers, that is it pure, pure entertainment that really sort of picks you up and makes you soar, soar as in fly to the sky.

But when you really think about the message that you're putting across, it is wonderful food for thought of the whole sensationalising criminal behaviour in Chicago. Cabaret with the rise of the Nazis in Berlin. They touch on such fascinating subjects, moving you. And then, when you explore what you've celebrated, it opens your eyes. It's wonderful. 

JB:    I'm glad that you touched upon Rodgers and Hammerstein because the first time that I came across your work was at the National Theatre 20 years ago in Trevor Nunn’s remarkable Oklahoma! What do you mean by those composers being "ahead of their time"?

Josefina:    Well I've done three Rodgers and Hammersteins now. Oklahoma!, Carousel and The King and I and every time it's an education. It's the birth of a nation in Oklahoma! as that state was just coming into existence. The musical is about the land rush, starting from scratch and setting up communities. That's an entire education on the history of the birth of a state.

The King and I is all about cultural differences. Where you believe yourself to be superior, because you think you know better, but then another culture opens your eyes to your ignorance and you learn from each other. It's always been a wonderful education, and a sort of sense of coming home to, every time I've done a Rodgers and Hammerstein – the material is just so rich. 

JB:    And of course you are one of the few West End leading ladies to have played opposite Hugh Jackman!

Josefina:    Yes. I mean on stage, it's just me, isn't it?

JB:    And now, together with Ruthie Henshall and Sarah Soetaert, you can add Cuba Gooding Jnr to that tally too!

Chicago plays at the Phoenix Theatre and is booking until 6th October.

Photo credit: Tristram Kenton