we go we have old, young, different coloured people with
different body types -big, small, skinny, and fat. It doesn’t matter. It’s really the talent we work with. Both Ann and Fosse worked very much with improv, taking the talent of the dancers and then directing them into the story. So there is no show or company that is ever the same. There are roles like with Cell Block Tango where the six ladies, including Velma, are specific, and the announcements are specific, but the characters may not be the same in each company.

So does having that individuality make each show a completely new experience for you?
Absolutely, Absolutely! And culturally as well! I just came off the Opening the show in Tokyo, Japan and that was done in Japanese! That’s a whole other challenge! We also did Korea this year as well. Each one is a totally different experience. Bringing the American art form into these cultures is always entertaining.

In this case how does the Australian culture differ?
Not so much. I think Australians are very close to Americans, in that with the new world Australia is now a continent that is so diverse with different nationalities. It’s been 10 years since I worked with Australians. I’ll see. But also I have to say generations are different. When they first did Chicago with Ann Reinking (the choreographer of the current Chicago, in the style of Fosse) they were so familiar with Fosse, but how many shows have been here since then? Each generation changes and now we have the MTV generation and people can see things on video opposed to seeing things live. So it will be different. We will see how that comes to be.

You have enjoyed a long successful; career. What have been some of the highlights or life changing experiences?
Oh let’s see…. working with Gwen and Fosse sure is one, but definitely working with Jiri Kylian at Nederlands Dans Theatre really changed my life. Jiri Kylian created this company NDT3 of dancers between 40 and death (as he put it). It was amazing. You think your career is finished by the time you’re 40 but he did all these new creations on us at this point in our career. It was nothing like what we had done in our 30’s or 20’s. We were working with Maurice Bejart, William Forsythe, Mats Ek, … and oh Jiri! It was amazing! Christopher Bruce, oh my, there are so many choreographers we got to work with – that was extraordinary. It stretched us to do things we never believed we could do and the things we realized that we could do now that we couldn’t/didn’t do when we were younger. Things like stand still and tell a story!!

Simplicity?
Yeah it was really fascinating to know the strength of that…. the power of that, rather.

There are not many dancers that have been able to dance with major ballet companies as well as have a significant career in Theatre. Was this something that you always wanted to pursue?
I think that being in the Joffrey Ballet, Mr. Joffrey saw dance as theatre. Then people like Jerome Robbins also used dance as theatre. Early in my career at the Joffrey Ballet people like Twyla Tharp came and taught new pieces. So I think it was almost a natural progression -  dance and theatre, theatre and dance. So I think I am fortunate. I was a character dancer in a classical company, so I always played the character roles. My love of dance as theatre still continues. For two years I got to set Petrouchka for American Ballet Theatre and the National Ballet of Canada, and that was wonderful. I tried to bring that theatricality to the dancers of today who are so about technique and are now almost gymnastic in a way. I know it’s frustrating, but it was wonderful because I got these 19/20 yr old boys to use their imagination and to think what it would be like to be in 1860 Russia. Or to be a coachman, or what that meant to live then? It lets them think about their individualistic ideas for each character, allowing them to do it, encouraging them…

So it has allowed you to push the dancers in a different way?
Yes - to not be so formal. Not to be “cookie cutters”. I could allow the dancers to use their imagination. I brought in some books of Russian art, just so they could look at pictures of how it what was to live in 1860. Did they have teeth? Did they have dentists? Things like that. Just letting them use their imagination would make their walk different. Is it cold outside? I highlighted all those elements of acting.

What continues to inspire you?
I think when you see dancers and their eyes and ears are open. When I am done talking you see their passion, their want, their need to better, and their need to express themselves. A little story….in Japan they all want to be the same. They all want to be perfect. It is beautiful, but I was trying to encourage them that they all have to be individual and they all have something of their own to share and give to the world. That’s what art is! You are supposed to give that away and share that. I was there for a long time, about 8 weeks. After that and then seeing the opening performance where they were all different and so beautiful, was so satisfying. I hope that they take that into their next job. I think those are the inspirational things – when dancers give themselves up to it all. That’s what keeps me going I think….

Well I am sure it will be keeping you going for this next Australian Production!
Oh I am looking forward to it!!

And what is next for you after the Australian show?
Oh My! Ok… Let’s see…there is an Argentinean production, Spanish production, then a Dutch production - all of Chicago. I am very fortunate……….(laughs)

CHICAGO to tour Australia in 2009 with a stellar cast

Australia, prepare yourself for the razzle-dazzle of the hit musical Chicago, set to tour nationally throughout 2009 following a Gala Opening at Brisbane’s Lyric Theatre, QPAC in March. Winner of six Tony Awards®, two Olivier Awards, a Grammy® and thousands of standing ovations, Chicago is Broadway’s longest-running Musical Revival and the longest running American Musical ever to play the West End.

It is nearly a decade since the “story of murder, greed, corruption, violence, exploitation, adultery and treachery” played in Australia. Known for its sizzling score and sensational choreography, Chicago is the story of a nightclub dancer, a smooth talking lawyer and a cell block of sin and merry murderesses.

Producer John Frost has announced his stellar cast: Caroline O’Connor as Velma Kelly, Sharon Millerchip as Roxie Hart, Craig McLachlan as Billy Flynn, and Gina Riley as Matron “Mama” Morton.

“I’m thrilled to bring back to the Australian stage this wonderful musical, especially with the extraordinary cast we have assembled. Velma Kelly is the role which took Caroline O’Connor to Broadway for the first time, and her legion of fans will, I’m sure, be overjoyed to see her perform it once again. Sharon Millerchip has previously played Velma in Chicago ten years ago, and since has won awards for her many musical theatre roles. She will be an astonishing Roxie. Craig McLachlan blew us all away with his incredible audition, and he’s going to astound people with his talent as a musical theatre performer. And I am very excited to welcome Gina Riley back to the stage. Her strength, her presence and her powerhouse voice will make her a staggering Mama Morton. This truly is the perfect cast" - Producer, John Frost

Sassy, sinful and seductive, Chicago is a musical that thrills and chills, having been seen by more than 15 million people. A whole new audience who loved the Oscar® winning film, will now have the chance to experience Chicago live.

The multi-award winning musical will be the first production to take centre stage in QPAC’s newly refurbished Lyric Theatre when it begins on March 19th 2009. Following the Brisbane season, Chicago will tour to the Lyric Theatre, Star City in Sydney, from May 14th, with other cities to follow. Tickets are already on sale for the Brisbane and Sydney seasons.

www.chicagothemusical.com.au