RANGELEY — “Chicago” came to Rangeley for four performances and proved to be a smash hit with four sold-out shows, July 1, 2, 4 and 5. Sonja Johnson and Carolyn Smith co-directed this Tony Award-winning, Best Picture Oscar recipient, with Val Zapolsky and Millie Hoekstra as producers. With the Rangeley Friends of the Arts, they were able to bring it to life.

“Chicago” is set during the Jazz Age of the 1920s, centering on two murderesses, Velma Kelly (Raina Eustis) and Roxie Hart (Anne Crump), in Cook County Jail. Both seek fame and acquittal with the help of the slick lawyer, Billy Flynn (Ian West), by turning their cases into media sensations. The story satirizes the corruption of the criminal justice system and the media’s influence on public perception. The music is by John Kander, lyrics by Fred Ebb, and book by Bob Fosse and Ebb.

Rehearsals began in earnest back in February. With so much dancing, choreographer Pam Ellis, who played Velma 22 years ago, needed as much time with her dancers as possible, and what a dedicated troupe they proved to be. They recorded practice sessions, studied the videos and made necessary adjustments as they progressed. The NFL has nothing on them. The dance troupe consisted of: Angelica Woodward, Diane Bellington, Valorie Lake, Ollie Sherrer, Michaela Beckmann, Kylie Slagg (also Go-to-Hell Kitty), Stella MacFawn, Emmarae MacFawn, Kaitlyn Hammon, Jayden Hammon, and John Pape. The ensemble also played various backing roles. Bob Fosse would have been proud of this dance ensemble, but Pam Ellis was far prouder by leaps and bounds.

Raina Eustis approached the role of Velma Kelly like a viper to its prey. Velma has never danced so well, been so delightfully nasty, or sung with such gusto as Raina made her. And when Anne Crump’s Roxie Hart joined Velma on stage it was like peanut butter joining chocolate, and that’s if the peanut butter and chocolate were actually nitro and glycerin. Their one upmanship was back-bitingly splendid. As co-director Carolyn Smith said, “While the audience sees the polished final product—the lights, the music, the performances—what they don’t always see are the countless hours of rehearsal” and the tireless efforts happening behind the scenes.

Ian West played Billy Flynn, the slick and conniving lawyer to both murderesses, who is “only in it for the money,” and clearly delighted in the unambiguous nature of his character. His acting, his wardrobe, his singing, his movement, not a single speck of his portrayal lacked. He was thoroughly entertaining, and the RFA would be fortunate to have him play in as many productions as possible in the future.

Elyse Andrews, as Matron “Mama” Morton, gave the audience what they paid for every single performance. Her olive oil voice drew the audience in with such throaty elegance the applause could be heard down-mountain. We were good to Mama and she was good to us.

Diane Bellington’s Katalin Hunyak was the emotional center of the story. Diane delivered her lines in Serbian, except for each entreaty of “Not guilty” spoken in English up until her eventual, and dramatic, hanging.

The genuinely good-hearted, though not very bright, Amos Hart, Roxie’s naive husband, played by Timmy Straub, was easily manipulated. Despite his loyalty and love for Roxie, he is often overlooked and taken advantage of, ultimately leading to his poignant solo, “Mr. Cellophane,” where he realizes his invisibility, all while dressed as a clown.

David Silver died many times on stage as Roxie’s love interest but his performance as Fred Casely will live on in the annals of RFA history, along with Steve Sozanski’s Judge and Rylan Böttger’s Conductor and as the doomed Harry. Debby Higgins’s beautiful soprano voice, as Mary Sunshine, shattered records for highest A5 levels. Debby is always such a wonderful addition to every RFA production she is a part of.

Sonja shared, “As a Director, the highest compliment is to witness performers grow into their abilities and a theatre family emerge that will reveal its love and acceptance to you for years to come.”

Carolyn built on this: “It was a sincere pleasure to work as co-director alongside Sonja Johnson and such a talented, dedicated group of actors in the production of “Chicago” over the past few months. No matter how many productions I’m involved in, the commitment of so many people to bringing the arts to Rangeley never ceases to amaze me.”

Val Zapolsky’s set design appeared simple but had three tiers and an understated, gilded Rococo style that served like a Greek tragedy’s comedy warehouse. The 7-piece band was ensconced on the most upper level: Gia Walton on woodwinds, Ethan Wright on percussion, Brendan Hickey on six different instruments, Daniel Labonte on trombone, Julie Schubert-Cowan on trumpet, Mike Schrader on his standing bass, and on keyboard Music Director Sue Downes. The band blew the roof off the house. There was more shimmying and shaking going on than at a New Orleans juke joint.

Carolyn continued, “It was a true pleasure to work with our seasoned production team, who collaborated so seamlessly to weave together the intricate music and choreography of “Chicago”. Bravo to Sue Downes, our brilliant Music Director, and Pam Ellis, our dynamic Choreographer—and, of course, to the incredibly talented cast of “Chicago”!”

“The real magic-makers are the unsung heroes backstage: the stage manager (Millie Hoekstra), costume designers, lighting (Justin Orazi and Rowenna Hathaway) sound technician (Chris Tranten), hair and makeup artists, and the individuals handling the crucial details, like ticketing and advertising. Without them, every show would be chaos.”

And if the audiences had not attended, the cast still would have had some hella jumpin’ parties on the sly. Raina and Anne brought the show to a heart pumping, foot stomping conclusion with their “Nowadays,” belting out, “In 50 years or so/It’s gonna change, you know/ But, oh, it’s heaven/ nowadays.”

Well done, RFA, and all involved in this marvelous production!