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Chicago Tribune
7 days ago
- Entertainment
- Chicago Tribune
Vintage Chicago Tribune: Roxie Hart's evolution — from Beulah Annan to Broadway and the big screen
'Chicago The Musical' debuted on Broadway 50 years ago. Directed by Chicago native Bob Fosse and starring Gwen Verdon, Chita Rivera and Jerry Orbach, the tale of an unfaithful wife who murders her lover then works the judicial system to secure her freedom was set against the backdrop of Prohibition and the Jazz Age. Though critics — including the Tribune's Don Kirk — largely panned the production, its story has staying power. A 1996 revival has more than 11,000 performances on The White Way, according to Playbill. That makes 'Chicago' the second-longest running show on Broadway after 'The Phantom of the Opera' (13,981 performances) and the longest active show. Vintage Chicago Tribune: Murder, mayhem and 'all that jazz' — the real women who inspired Oscar winner 'Chicago'The musical's story was based on actual events that happened in — you guessed it — Chicago in the early 1920s. Its plot, written by short-time Tribune reporter Maurine Dallas Watkins, was ripped from the headlines, many of her own for the paper. And Roxie Hart, the name of its lead character, was probably inspired by a 'dashing beauty' of the same name from Centralia, Illinois. Hart appeared before a packed courtroom in Watkins' hometown of Crawfordsville, Indiana, to testify during a 1914 murder trial. Here's a look back at the woman who inspired 'Chicago' and those who have portrayed the scandalous seductress on stage and screen. To learn more about how 'Chicago' went from Murderess Row to Broadway and then on to movies, order: 'He Had It Coming: Four Murderous Women and the Reporter Who Immortalized Their Stories.' The life of Beulah Annan has been the basis for every portrayal of Hart. Already twice wed and a mother by the age of 24, Annan was satisfied by neither. Through her job at a Chicago laundry, Annan met Harry Kalstedt. Walks together quickly progressed to day-drinking in her apartment while her mechanic husband, Albert, was at work. A drunken disagreement on April 3, 1924, led Annan to shoot Kalstedt with her husband's revolver. She sat with the body for hours as her phonograph wailed the jazzy tune 'Hula Lou' on repeat. Ironically, the first phone call Annan made was to her husband: 'I've shot a man, Albert. He tried to make love to me.' When her husband arrived home, he found Annan covered in blood and called the police. Watkins picked up the investigation of Annan for Kalstedt's murder and it remained front-page news. 'They say she's the prettiest woman ever accused of murder in Chicago — young, slender, with bobbed auburn hair; wide set, appealing blue eyes; tip-tilted nose; translucent skin, faintly very faintly, rouged, an ingenuous smile; refined features, intelligent expression — an 'awfully nice girl' and more than usually pretty,' Watkins wrote. During the inquest, Annan's lawyer W.W. O'Brien claimed, 'Both went for the gun!' Annan said if she didn't shoot Kalstedt, then he would have shot her. After her trial was continued several times, Annan made an announcement — she was pregnant. The claim moved her case to the front of the line. But many wondered — could a beautiful woman expecting a baby get a fair trial? 'The verdict is in your hands and you must decide whether you will permit a woman to commit a crime and let her go because she is good-looking,' prosecutor William McLaughlin told the jury. 'You must decide whether you want to let another pretty woman go out and say, 'I got away with it!'' 'And they did,' Watkins wrote. Less than two hours into deliberations, the all-male jury came to a not-guilty consensus on the third ballot. Husband Albert Annan, who stood by his wife during the trial, was overcome with joy and gratitude. 'I knew my wife would come through all right!' he said proudly. Beulah Annan then thanked each member of the jury individually and posed for a photo with them. Watkins used the trial's twists to write a three-act play, 'A Brave Little Woman,' the first she would write while attending the new Yale School of Drama in 1926. When it debuted on Broadway later that year it was called 'Chicago.' Larrimore was not supposed to be the first actress to portray Hart on stage. She replaced Jeanne Eagels who, according to the Tribune, made rehearsals difficult. That didn't stopped Eagels from sitting in the front row during a performance, where she supposedly 'made faces' at her successor. When the show arrived in Chicago in September 1927, Larrimore was still the lead actress in the production. The Tribune described her as 'vivid and immensely funny.' The story was praised as 'a hearty and favorious romp that makes rich sport of the yellow newspapers. the criminal lawyers, the judges and the juries, and all the bunk and blah that go with the killing of a man by a pretty woman.' Chicago audiences also loved it — the show played for nine weeks. An advertisement for the first screen version of 'Chicago' — produced by Cecil B. DeMille — described the 1928 silent film as 'more melodramatic and much funnier than the stage play.' The Tribune reviewer (who filed under the pseudonym Mae Tinee), however, said 'they have slaughtered Maurine Watkins' play. 'The clever, satiric, diabolically human, uproariously funny play that could so well have been made into just such a picture has had all its fine parts ironed out. It has been fluted and tucked and dyed (including Hart's hair which became blonde for the first time) a la DeMille and the result is just a fussy, ordinary melodrama that is rather funny in spots.' Depite the disdain, Haver's work in the film was praised as 'believable.' Yet again, Watkins' tale was rewritten for the screen — in 1942's 'Roxie Hart,' it was told as a retrospective. 'The public always expects a newspaperman to do a lot of drinking,' reporter Homer Howard (played by George Montgomery) said before toasting to Hart (played by Ginger Rogers) at a tavern (with William Frawley of 'I Love Lucy' fame serving as bartender). He then told the story of the beautiful murderess — who's become a showgirl in this iteration. Though the movie is just 75 minutes long (and available on YouTube), the Tribune reviewer said it 'would have been nice if the director had known just when to end his epic.' Still, Rogers' portrayal of Hart — 'who had yearned for her picture in the paper more than anything else in life' — was called 'deft.' The first musical version of Watkins' play opened on Broadway on June 3, 1975, with Gwen Verdon as Hart and Chita Rivera as Velma Kelly. Verdon, who had to bow out of the production because of illness and was replaced by Liza Minnelli, claimed it had been her idea to adapt the play into a musical. The vaudeville-esque show ran for 936 performances over almost two years. Tribune critic Don Kirk didn't like it. 'Oddly enough, the combined efforts of some of Broadway's brightest talents somehow fail to get it all together. … They call the show, 'Chicago,' but one gets the clear impression they never thought of visiting the place to savor its peculiar ambience and seriously attempt to recapture it in music and words.' The show's lukewarm reception could have also been in part to a blockbuster show which opened the same year — 'A Chorus Line,' which captured many awards. But in short measure, Tribune critic Chris Jones wrote, ''Chicago The Musical' — with a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Ebb — greatly exceeded the fame and influence of the play that was its source. 'Over time it came to be known as the quintessential Fosse musical, the most famous work of the Chicago-born choreographer known for his hyperspecific movement vocabulary of turned-in knees, angled, attitudinal body parts, muscular twitches, sideways shuffling and jazzy, animated hands.' The 'more cynical, darker show,' as Tribune critic Merrill Goozner described it, was given a 'black box setting' with actors and dancers wearing basic — but barely there — black costumes. Slinky dances accompanied fast-paced music from the orchestra, which was seated on a raked bandstand in the background. 'All That Jazz,' 'Razzle Dazzle' and the 'Cell Block Tango' were pumped out with vigor, Tribune critic Richard Christiansen wrote. Column: How Ann Reinking choreographed not just 'Chicago,' but captured the essence of the city itselfReinking, Fosse's muse and confidant, played Hart in the revival. It debuted Nov. 13, 1996, at the Richard Rodgers Theatre in New York. Among the show's numerous Tony Awards, Reinking won one for her choreography. Turns out, the star of 'Bridget Jones's Diary' could sing and dance — perhaps not as naturally as her more experienced co-star Catherine Zeta-Jones (who won an Academy Award for Best Supporting Actress for her portrayal of Velma Kelly) — but better than anyone might have expected. 'This is a honorable, and largely successful, film version of a deliberately dishonorable Broadway show, based in turn on Maurine Dallas Watkins' disreputable and popular 1926 play about a cheap tart who gets away with murder,' Tribune critic Michael Phillips wrote in 2002. Thanks for reading! Subscribe to the free Vintage Chicago Tribune newsletter, join our Chicagoland history Facebook group, stay current with Today in Chicago History and follow us on Instagram for more from Chicago's past.
Vogue Singapore
19-05-2025
- Entertainment
- Vogue Singapore
Grace Roberts on growing up in Singapore and playing Christine Daaé in the ‘The Phantom of the Opera'
When The Phantom of the Opera arrived on our shores earlier this month, it was a homecoming for Grace Roberts. While the musical theatre performer is British, her family moved to Singapore when she was six weeks old, and she spent the first 18 years of her life growing up in the city. It was also here that she first started doing theatre. 'I started out doing choir when I was younger, and started to do plays and musicals when I was old enough to audition at school. I also took part in school concerts at the Victoria Concert Hall and the Esplanade when I was in junior and senior school. I honestly thought those amazing buildings were something else, and it was an incredible introduction to theatre,' she thinks back fondly. Grace Roberts plays Christine and Ben Forster plays the Phantom for the Singapore run of the musical. Courtesy of Base Entertainment Asia As she returns to Singapore this time, it is in one of the most beloved and iconic roles in musical theatre: Christine Daaé, the beautiful soprano that becomes the obsession of the mysterious musical genius that haunts the Paris Opera House. In the midst of the sheer grandeur of the musical—the swelling score, the magnificent costumes and the unbelievably spectacular sets—Christine is the show's tender heart, and it is a role that Roberts is absolutely magnetic in. From her quiet bravery to her deep compassion, Roberts brings a depth to Christine that turns an already technically brilliant performance into one that feels like a revelation. Here, she opens up on discovering her love for theatre, stepping into the role of Christine and what it has been like to perform in the place where she grew up. Grace Roberts as Christine Daaé. Courtesy of Base Entertainment Asia When did your love for theatre begin? Is there a particular production that inspired your decision to go into musical theatre? I've loved theatre since I was a little girl. My grandmother introduced me to films like Seven Brides for Seven Brothers , Carousel , and Oklahoma! when I went to visit and we'd play everything on loop. I also vividly remember watching a taped version of Joseph and the Amazing Technicolor Dreamcoat on VCR and being totally enthralled when I was about five. So I was introduced to music and theatre through film pretty early, but I'd say the major turning point was seeing Wicked when I was around 11. I was just taken aback by the sheer scale of it all, and I knew I wanted to be involved with something as magical as that. What is it like to perform back here in the place where you grew up? I can't really describe how special it is. I've always wanted to perform in Marina Bay Sands, and being able to stand on that stage is quite incredible. It's also amazing to have my parents able to see me perform in such an iconic Singapore landmark. It's really a combination of things that makes this so incredibly special. 'Masquerade' in The Phantom of the Opera . Courtesy of Base Entertainment Asia What was your introduction to The Phantom of the Opera? I've known the music for years . I was introduced to the music when I was much younger, but I didn't see the show until it came to Singapore in 2013. I watched Claire Lyon as Christine and Brad Little as the Phantom, and I was just mesmerised by the production value and the incredible music. As soon as the chandelier rose, I just knew it was something I had to do one day. What about Christine's character were you most drawn to? I love how compassionate she is, but I also appreciate how brave the character is. Although she's a woman living in the Victorian era, she's incredibly headstrong and resilient. I like to think that she's seriously ahead of her time and is somewhat constricted by the period she's living in. What is the most challenging part about playing Christine? I'd say the sheer amount of stage time. I'm quite lucky that Christine is in my wheelhouse vocally, so I don't find the singing too challenging. However, Christine just doesn't really leave the stage, especially in act two. Having enough stamina and fitness to keep up with the role is something I had to find quite early on in my journey. Grace Roberts as Christine in 'Wishing You Were Somehow Here Again'. Courtesy of Base Entertainment Asia What has it been like to perform alongside Ben Forster as the Phantom and Matt Leisy as Raoul? It's wonderful, I absolutely adore them both! They bring such life and uniqueness to the roles, and it's truly a pleasure to work alongside them every night. We're having the time of our lives up there. Do you have a favourite scene or song to perform in the show? I love doing the graveyard scene—that's 'Wishing You Were Somehow Here Again' through to 'Wandering Child'. I find that it's incredibly layered, and it's the culmination of everything Christine has learned in the show so far. It gives her some resolution and direction to take her through the rest of the show. Do you have a dream role you would like to play in the future? I'd absolutely love to play Glinda from Wicked . It's the only other role on my theatre bucket list, aside from Christine. The Phantom of the Opera runs until 22 June 2025.
Time Out
16-05-2025
- Entertainment
- Time Out
'Phantom of the Opera' musical review: A hauntingly beautiful gothic romance masterpiece
Don your masquerade ball finery – the longest-running musical on Broadway has returned to grace Singapore's stages after six long years. First debuting at West End in 1986, The Phantom of the Opera by musical maestro Andrew Lloyd Webber has been captivating audiences for decades, with a grand total of close to 14,000 curtain calls completed over its 35-year New York theatre tenure. Surely, this tale possesses a certain allure that keeps pulling both fresh and longstanding fans in – and I wasn't about to miss out on my first Phantom experience with this new run at Marina Bay Sands' Sands Theatre. A love triangle, jealousy, manic obsession and elements of horror – Phantom has all the trimmings of a classic gothic romance. It goes without saying that unlike titles like Wicked and Disney's Beauty and the Beast, The Phantom of the Opera isn't one of those upbeat feelgood musicals with toe-tapping tunes you'd be itching to dance along to. This dark narrative will grip you in wide-eyed rapture and bated breath – right from the start where the foreboding title track invades the stage with electric guitar riffs, all the way till the bittersweet ending scene where calmness finally settles after the tumult. Set in Paris Opera House circa the 19th Century, Phantom is essentially a musical production within a musical production – its story is centred around an opera troupe and its dancer-turned-soprano-lead Christine Daaé (Grace Roberts), who soon becomes the object of the Phantom's (Ben Forster) desire and all-consuming infatuation. It's only fitting that many of its tunes take on operatic influences – a friendly introduction to an otherwise niche category of classical music, if you will. With such a singing style, some portions of the lyrics might admittedly be hard for the untrained ear to make out, so expect minor moments where you'll strain your ears only to find the words unintelligible – at least for some of the side characters who stick towards a more traditional opera vocal technique. Thankfully, all the leads' voices ring clear and strong, with the overall story remaining unaffected and easy to follow even for first-timers who haven't done their pre-show homework. And oh, what a treat we were served by the treacle-throated Roberts, who hit all the toughest high notes with masterful precision. While the title song and other hits like 'Think of Me' and 'Music of the Night' are certainly set to wow, it's Roberts' hauntingly beautiful rendition of the ballad 'All I Ask of You' – a heartfelt duet with Matt Leisy who plays Raoul – that blew us away with its delicate and ethereal, yet powerful, delivery. Both male leads Leisy and Forster bring forth a commendable performance, with Leisy's warm vocals perfectly complementing Roberts' in their shared pieces, and Forster commanding the stage as the tortured antagonist. The latter did mildly falter on holding some of his higher notes, but his overall portrayal of the Phantom as a mentally distraught, tormented outcast of society is one to watch. All this to say: the boys are great in their own right, but the clear star of the show is Roberts – much like the character she plays. Though I haven't had the privilege of witnessing any other Christines on stage, it's clear as day that Roberts was made for the role. Other supporting characters like Carlotta (Raquel Suarez), Madame Giry (Marni Raab), and especially Meg Giry (Claire Lander) also hold their own. One underrated tune we loved amidst the chaos of it all was 'Notes / Prima Donna' – an ironically cheerful-sounding ditty mainly sung between the opera house's co-owners Andre (Curt Olds) and Firmin (James Borthwick). With a springy beat and fun rhyming lines, it starts off with a tinge of cheekiness before eventually segueing into something with more sinister undertones. Story-wise? More discerning modern audiences may not necessarily sympathise with the Phantom as the infamous 'tragic figure' of the story. Perhaps I'm no empath, but I certainly didn't feel much for the disfigured character and his inexcusable actions, as much as his circumstances were unfortunate. While I can't speak for others, this for me was likely due to the lack of a heart-wrenching backstory delving into how he ended up in his plight. That said, it's also worth remembering that this musical was written in a wildly different era of entertainment, where times were much simpler. But forget overly complex storylines and character lore – The Phantom of the Opera is to be appreciated purely for being a theatrical masterpiece, and in that regard, it hits the spot. Powerhouse vocals aside, its graceful ballet numbers, glittering costumes and dazzling sets are guaranteed to impress as you're whisked from stage to cemetery and dark mysterious lair. We'll refrain from spoiling it for new watchers, but we'll say this: So cleverly designed are the sets that they'll completely rewrite your perspective of the depth that a theatre stage can hold. You'll know exactkt what we mean once you watch the show. If you haven't already witnessed this spectacle, it's high time you get swept up in the whirlwind. This is one musical that's fully worth splurging on better seats for – we strongly recommend going for something in the centre column towards the front for the full immersive experience.
New Paper
16-05-2025
- Entertainment
- New Paper
Still a masterpiece: The Phantom of the Opera dazzles with spectacle and song
Title: The Phantom of the Opera Performance season: Until June 22, 2025 Duration: 2 hours 30 minutes (including intermission) Director: Rainer Fried Starring: Ben Forster, Grace Roberts, Matt Leisy Genre: Musical gothic romance Score: ✓✓✓✓ out of five Andrew Lloyd Webber's timeless masterpiece, The Phantom of the Opera, has once again cast its spell over Singapore, playing at the Sands Theatre, Marina Bay Sands. For a strictly limited season from May 9, 2025, this brilliant original production resurrects the haunting tale of obsession and artistry. Based on Gaston Leroux's 1910 novel, it plunges audiences into the shadowed depths of the Paris Opera House, where a mysterious, masked musical genius holds sway, his heart captivated by the young soprano, Christine Daaé. Hits Storyline: The timeless gothic romance, based on Gaston Leroux's novel, remains profoundly captivating. It masterfully explores themes of obsession, unrequited love, and artistry, balancing grand operatic drama with moments of aching vulnerability that resonate deeply with audiences. The narrative of the disfigured musical genius, his talented protégée, and their tragic love triangle continues to enthral. Direction: Associate director Rainer Fried successfully conjures the production's signature dark and gothic atmosphere. The staging largely facilitates immersive transitions, guiding the audience through the opulent Paris Opera House and into the Phantom's shadowy lair with thrilling effect, effectively highlighting the story's inherent romanticism and suspense. Acting: Ben Forster as the Phantom and Grace Roberts as Christine Daaé deliver exceptional, vocally powerful, and emotionally nuanced performances, creating compelling chemistry. Forster's Phantom is both menacing and tragically human, while Roberts' Christine beautifully captures her character's journey. The strong ensemble cast supports them admirably, bringing energy and life to every scene, especially during grand numbers like "Masquerade." Audience Appeal: Andrew Lloyd Webber's iconic score, featuring unforgettable melodies like The Music of the Night, All I Ask of You, and the titular theme, combined with the spectacular visuals and enduring love story, ensures the musical captivates both seasoned theatregoers and new generations. It offers a deeply moving and memorable theatrical experience for all. Misses Production Value: While individual vocal performances, particularly from the leads, soared with clarity and power, the sound mixing proved less optimal during more complex arrangements. Notably, when large sections of the ensemble sang together, or during the intricate, layered trios featuring the Phantom, Christine, and Raoul - moments that should be musical highlights - the sound occasionally became muddled. This unfortunately led to a lack of lyrical coherence at times, diminishing the impact of these crucial polyphonic interactions and making it difficult to discern the individual vocal lines that are so integral to the storytelling in those scenes. Is it worth a watch? Absolutely. Despite potential technical inconsistencies that might mar the occasional performance, The Phantom of the Opera remains an undeniable theatrical triumph. This Singapore production is a powerful testament to its enduring magic, largely driven by its haunting music, powerful lead performances, and the sheer grandeur of its ambition, and serves as a potent reminder of why Phantom has captivated millions worldwide for decades. Whether you're reliving the dark romance and operatic grandeur or experiencing its spell for the first time, prepare to be swept away. No recording can truly capture the visceral thrill and emotional depth of seeing this musical masterpiece live.
Yahoo
16-05-2025
- Entertainment
- Yahoo
The Phantom of the Opera: Singapore-raised star heads this worldwide hit
One of the most iconic titles in all of theatre, The Phantom of the Opera has returned to Singapore to enchant another generation. Now in its 40th year, this Andrew Lloyd Webber masterpiece with 70 major theatre awards under its belt has been seen by over 160 million people in 195 cities across the globe. Catch one of the most popular productions of all time at Sands Theatre until 22 Jun 2025. If you are one of the few unfamiliar with the tale, this haunting love story is based on a French novel published in 1910. Timeless indeed. The titular Phantom 'haunts' a Parisian theatre, where mysterious accidents and entitled demands delivered by notes keep the cast and crew on edge. When the prima donna refuses to perform after the latest incident, young chorus girl Christine Daae replaces her. Christine's triumphant performance enchants her childhood friend, Raoul in the audience. This sends the Phantom, who has been secretly tutoring her, into a rage. Sabotage, kidnap and murder follow, with dark secrets and murky backstories creating a thrilling backdrop to the relationships Christine has with her enamoured old friend and this mysterious, dangerous stranger. This production stars Jonathan Roxmouth as the Phantom and London-born, Singapore-raised Grace Roberts as Christine. The cast of 37 hails from the United States, South Africa, Australia and beyond. I am admittedly a dilettante when it comes to theatre but even I recognised the booming overture that leads into the story. From the moment the iconic chandelier ascends in a blaze of light, the music of The Phantom of the Opera is simply fantastic, even if the genre was a surprise to me, considering the story is set in the early 20th century. What completely shocked me was the vocal performances. Both Grace Roberts and Johnathan Roxmouth have such magnificent control of their voices over such a vast range that my jaw literally dropped. I was prepared for the character of Christine to display a tenderness but to have The Phantom equal it was a delightful revelation. I am not alone in that assessment; the audience erupted in applause and cheers when Roxmouth first displayed his prowess. And it was a recurring occurrence. Powerful renditions of beloved classics like 'The Music of the Night' and 'All I Ask of You' were met with thunderous cheers. Matt Leisy as Raoul, Christine's suitor, brings charm and sincerity, though his performance occasionally feels overshadowed by the Phantom's intensity. The ensemble, from the opera diva Carlotta to the ballet corps, adds flair and humour. 101 Best things to do in Singapore – Ideas for tourists & locals [Mar 2025 update] I loved the opulent staging described of Miss Saigon, and this set design equals it in grandeur and atmosphere. The Paris Opera House is vividly brought to life with intricate backdrops, from the gilded auditorium to the eerie underground lair. The iconic chandelier drop never fails to elicit gasps. Lighting and smoke effects create a gothic ambience, especially in scenes like 'Masquerade,' where vibrant costumes dazzle against a swirling staircase. The manner in which The Phantom 'rowed' his craft about the stage was so convincing that I was initially sure that there was water beneath it. Two elements of The Phantom of the Opera stand out for me: the voices and the stealth of the set changes. Over the past few months, I have caught , and Wicked, and could never claim that any one of them lacked voice talent or good set design. Quite the contrary, I praised those exact features in my reviews. However, The Phantom of the Opera does both better. Grace Roberts as Christine and Johnathan Roxmouth as The Phantom gave exceptional performances. While its sets may not be as dynamic as those of Miss Saigon, they were perfect for this plotline. If I have one criticism, it's of the pacing. One or two musical numbers (that shall remain unnamed) seem perhaps superfluous. Also, the sudden bloom of Christine's relationship with Raoul is unconvincing, their childhood together notwithstanding. At a 150-minute runtime, both of these could be addressed. Still, it's hard not to understand why this Andrew Lloyd Webber's superhit has been seen by over 160 million people and remains so popular with both newcomers and returning fans. An acquaintance shared a clip of her bawling her eyes out when the curtains fell. I did not do the same but I empathise. The Phantom of the Opera plays at Sands Theatre till 22 Jun 2025. Get your tickets from S$87 on What to do in May 2025: HeritageFest, SIFA, new menus & more The post The Phantom of the Opera: Singapore-raised star heads this worldwide hit appeared first on
