Start with six Tony Awards, add two Olivier Awards and a Grammy, throw in a couple of Academy Awards for the film version and you’ll get a little known musical called Chicago. In fact only a few weeks ago, at the 2009 Sydney Theatre Critics Awards, Chicago added another three awards to its already bulging mantelpiece – for Best Production of a Musical, Best Performance by an Actress in a Musical (Sharon Millerchip) and Best Performance by an Actor in a Musical (David Bermingham). And now, having wowed audiences around the world, this spectacular and sultry show is touching down in Perth for four weeks only.
And I must say I’m excited. But then I’m a massive musical fan so it doesn’t take much to please me. Basically if they’re singing and dancing on a stage – I’ll love it. However this is a show that I would take even my boyfriend (who is not a fan of musicals) to. Clever, sexy and funny, Chicago tells the tale of the merry murderesses Roxie Hart and Velma Kelly and their high-flying lawyer, Billy Flynn. Couple the minimal set and skimpy costumes with the iconic choreography of Bob Fosse and the hit music of John Kander and Fred Ebb and you’ve got a seductive show that just about everyone will enjoy. Even my boyfriend.
As a fan of the show, I was excited to hear that it was stopping by Perth on its national tour. As a big fan of star of the show and Australian musical theatre legend, Caroline O’Connor, I was super excited to chat to her about her role.
CI: First let’s talk about Chicago. You play Velma Kelly – a role that you have reprised several times throughout your career. What is it that you love about this show?
CC: Well firstly, the score, by John Kander and Fred Ebb. I love their work. They are also responsible for many of my other favourite musicals, including Cabaret and The Rink, two shows I had the good fortune to do in the West End. I have always loved Bob Fosse’s work and Ann Reinking choreographed a wonderful homage to him in this production.
I have a strangely deep connection with Velma Kelly. She is an amazing character and a demanding role to play, vocally and physically, and of course she gets to sing All That Jazz which is one of the best songs and entrances in musical theatre!
CI: You were one of the first Australian stars to appear on Broadway. And you received rave reviews for it! TalkinBroadway.com described your portrayal of Velma as one-of-a-kind, second only to Bebe Neuwirth. How does it make you feel when you hear comments like that?
CC: Overwhelmed and thrilled! To receive such a positive response from the critics and audiences in New York was a relief to say the least. Broadway is the home of musical theatre, so to be accepted and celebrated, was a dream come true. The producers later invited me to perform at the 10th anniversary concerts in both New York and London. A huge honour indeed. I felt like I was representing Australia!
CI: How did the Broadway stint come about?
CC: I was invited by the Broadway producer, Barry Weissler, the director, Walter Bobbie and Ann Reinking. They were about to celebrate their seventh anniversary at the Schubert Theatre and the movie of Chicago was just about to open in America, so it was very exciting time for me to be in the show. I played opposite Billy Zane as Billy Flynn and Charlotte D’amboise as Roxie. The producers asked me if I would like to extend my contract, and how could I refuse? So we then moved to the Ambassadors Theatre where Kevin Richardson joined me. On a personal note, I got to do a photo shoot with Catherine Zeta-Jones, Renee Zellweger and Richard Gere at the theatre, which was too exciting! I still get star struck. I was also invited to the movie’s premiere, where I got to meet my idol, Chita Rivera, the original Velma Kelly. It was an incredible evening.
CI: So what’s your background? Where did you come from and how did you end up where you are?
CC: I was born in Oldham, Lancashire, to Irish parents. We moved to Australia when I was four. I actually started as an Irish dancer - I came third in the World Championships. Then I studied ballet tap and jazz, continuing my training at the Royal Ballet School in London. Singing came much later! I used to sing at home all the time, in private, but I was very shy. I auditioned for Oklahoma, got in, fell in love with musicals, and the rest is history.
CI: Did you think that you would achieve this kind of success? Showbiz is a tough industry to make it in…
CC: No I didn’t and yes it is! To be honest, I would have been happy as long as I was on the stage. I had no particular goals and you’re crazy if you think you can plan a career on stage or screen. But I think in my case, hard work is what made all the difference. I was a very enthusiastic student and was dedicated to my classes. I used every opportunity I had to better myself and also challenged myself by moving to London in 1984 to work in the West End - I wanted to continue learning and auditioning. I have worked with some of the best directors, choreographers and actors in the business internationally and they have all taught me so much.
CI: What was your first big break and how did it come about?
CC: I didn’t get my break as a leading lady in the West End till I was 33. I was cast as Mabel in Jerry Herman’s Mack And Mabel at the Piccadilly Theatre in London. And I was thrilled to be nominated for Best Actress in a Musical at the Laurence Olivier awards. Up to that point I was quite happy being in a musical and understudying roles. I think it happened for me when it was meant to be. I would much rather have longevity in my career than success too soon and then it’s over.
CI: What has been your career highlight and why?
CC: That’s always a difficult one. But I would probably say Moulin Rouge. It was so unexpected and I got to play the fabulous role of Nini Legs in the Air.
Working with Baz Luhrmann and Catherine Martin was a joy, as was working with the fabulous John ‘Cha Cha’ O’Connell who was the choreographer. I learnt a lot about film during that experience. I never thought I would have the opportunity to be in a musical film. I had watched them all my life, and thought they had gone, but I got lucky! A couple of years ago I did another musical film, De-Lovely, playing Ethel Merman.
CI: One of the things that sets you apart, I think, is that you are a superb actress as well as a beautiful singer and dancer – a true triple threat. And because of your acting skills you’ve been able to tackle some very difficult roles including playing real life legends Ethel Merman in the film De-Lovely and Judy Garland in the stage show End of the Rainbow and even Edith Piaf. What did you do to prepare for these roles?
CC: Playing ‘real’ people is a great responsibility as an actress. Research is the key. You have to find out everything you can to do justice to them. Reading all the autobiographies, watching the footage, studying their physical and vocal traits. I’m not a mimic, but I try to get as close as I can and try and find the true essence of the person. But I think I do the same with fictional characters. I try and find a voice and a body language that suits and embodies them. I like to create a character.
CI: Do you feel there is more pressure playing someone whom audiences have known and loved?
CC: Yes, of course. Especially those ‘legends’ who have passed away. On a couple of occasions I’ve almost pulled out, but the challenge is too tempting.
CI: Any advice to young Perth girls and boys who are looking to break into the biz?
CC: Go to class! Never sit down in class. Watch, listen and learn from what’s gone before you. Be realistic about your capabilities. Find an inspiration to look up to and most importantly, be yourself.
CI: If they are heading to an audition, what tips can you give them to impress the casting directors?
CC: Find out everything you can about the show and the character you’re auditioning for, that way you can pick an appropriate song to sing. Make sure the music is in the correct key for the pianist and have a couple of other songs ready in case they want to hear more. Don’t wait till the day before to learn the lyrics!
Dress tastefully and comfortably. Don’t be late if you can help it. It’s a bad start for you, and their impression of you. Don’t make excuses. Don’t expect to get everything you audition for and beat yourself up. There are always more people than jobs and most importantly leave a good impression.
Even if you don’t get that job - you never know when you’ll be in front of them again and you may be right for something else they’re working on. They could mention you to other possible employers. You can’t buy a reputation in this business - you have to earn it.
CI: And finally, why should Perthites come to see Chicago?
CC: This production of Chicago has been running on Broadway for 13 years and in London for 11 years. This is the second time it’s been produced in Australia in 10 years! And that doesn’t even include all the other productions worldwide. Chicago has become a phenomenon. I have no doubt we are going to get a very warm welcome in Perth - I’ve never been to Perth and I am very excited - but for anyone who’s ‘sitting on the fence’ and can’t decide, I think they will regret it if they don’t come. They will have missed out on a very special night of live theatre. So as Velma would say, ‘Come on babe! Why don’t we paint the town? And all that jazz’.
An estimated 17 million people around the world have seen Chicago, which has played over 15,000 performances worldwide – I personally have seen more than my fair share of these performances. It’s addictive – once is simply not enough!
So, if you haven’t done so already, I think you should book a ticket. Not only is it a fab show, but we’ve got one of the best casts in the world. The star-studded line-up includes Caroline O'Connor as Velma Kelly, Sharon Millerchip as Roxie Hart, Craig McLachlan as Billy Flynn and Colleen Hewett as Matron ‘Mama’ Morton.
BOOK NOW AT:
http://premier.ticketek.com.au/Shows/Show.aspx?sh=CHICAGOM10
You can follow Caroline and I on Twitter:
www.twitter.com/cazoconnor
www.twitter.com/caitlini
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