The Gilbert and Sullivan Society of Bermuda's presentation of the musical comedy Chicago was full of pleasant surprises.

Directed and choreographed by Jenny Arnold, with musical director Mark W. Dorrell, it was a well realised and ultimately uplifting effort. The question looming in my mind from the time I heard that they were presenting Chicago was "What is the dancing going to be like?"

A musical like Chicago, which relies so heavily on quirky and well executed dancing, needs dancers and frankly I wondered where they were going to find dancers in Bermuda who could also act and sing.

As soon as I saw Liz Pimental and members of her "Concepts In Motion Dance Ensemble", I knew that the dancing and acting dilemma was overcome. This innovative company has been combining acting and the use of props in their dance numbers since inception in work that encompasses the abstract and avante garde, the whimsical and the startlingly emotional.

We were introduced to the evening's shenanigans by Che Barker, very effective as the suave and smooth MC of the show within a show. The opening number, "All That Jazz", performed with real sass by Barbara Frith as Velma, a vaudevillian who shot her husband and sister when she caught them in bed together, accompanied by the ensemble proved that the dancers could also sing.

I knew I was in for a great show and settled in with anticipation. During the opening musical number Roxie, the lead character, played by Happy Lindsay, enters with her lover, Fred Casely, performed by Brian Kilbane and before the end of the song she has murdered him because he wants to end the affair.

The rest of the show revolves around Roxie's temporary incarceration, instant celebrity and her efforts to capitalise on it and, with the help of her seedy albeit brilliant lawyer, Eddie Flynn, played with panache by Richard Fell, receive an acquittal and begin a vaudeville career. There are quite a few glitzy song and dance numbers along the way that delight and amuse, accompanied by head bopping finger snapping music supplied by a wonderful band under the direction of Mark W. Dorrell.

Happy's first number, "Funny Honey" revealed a clear and resonant singing voice to go with the buoyant and delightfully unscrupulous character that she created. She was a pleasure to listen to and watch as she sang, danced and schemed her way through the show.

From the first time I saw Happy on stage in the BMDS production of Chekov's "The Cherry Orchard" I was impressed by her ability to be completely in character. In "Chicago" she exhibited the same flawless immersion and the results were hilarious. Although the rest of the cast was strong and enthusiastic her performance was the powerful focal point. Phillip Jones was a crowd favourite as Amos Hart, Roxie's simple and adoring husband. His performance of "Mr. Cellophane" was one of the finest moments of the evening. Dr. Jones has perfect comedic timing and is always believable. His spot on performance made a relatively small role a most memorable one.

Another unforgettable role was that of naive tabloid columnist Mary Sunshine, played with aplomb by enigmatic newcomer, Masie Thordike.

Her spirited rendition of "A Little Bit of Good" was an uproariously funny crowd pleaser. Indeed she was a riveting presence whenever she was on stage. Denise Whitter's strong voice was perfect for Matron, who presided over the women's block of the Cook County Jail, and the duet, "Class", with Barbara Frith featured some of the best singing in the show. The harmonising parts between the two fine actresses were beautiful and a contrast to the relatively simple vocalising in most of the other songs.

The Ensemble, consisting of eight beautiful tight-bodied and curvaceous women and seven handsome hunks, was responsible for the flow of the fast paced satire. While providing the chorus singing and dancing most of them also played other small roles throughout. The physical appearance of the collective ensemble is worth mentioning because it added significantly to the feel of glamour evident throughout and typified showbiz. Another pleasant surprise was the dancing performed by the men in Chicago. Very often on the Bermudian stage the men are given very simple steps that they perform rather blandly. Whilst the numbers with the men alone were not as smooth as those with the whole company or the women alone this had nothing to do with actual execution of steps.

There was simply the odd misstep or late spin. The men in Chicago performed their numbers with energy and oozed charm, fully completing each well-devised movement. Standouts were Keith Madeiros and Tyler Barker, but they were all fine performers. I was extremely impressed with the women in the ensemble. There were fine acting performances by Sophia Cannonier in particular, Liz Pimental, Irene Hasseler-Pimental, Hanne Koren, Lisa Womack, Jessica Frith, Marisa Hall and Jenny Cheal. The director must be commended for pulling such fine acting from these talented dancers. As with all G & S productions the sets, designed this time by Graham Wynne, were amazing and multi-functional with the City Hall Theatre transformed. All technical aspects, except for the unfortunate bit of the swinging bed in the beginning, were flawless, and the costumes effective, authentic and flattering. Jenny Arnold must be commended for the obviously strong direction and lovely choreography Chicago is a great musical, with catchy music, clever, sometimes raunchy lyrics, lovable and creepy characters, evoking the decadent climate of the roaring twenties. Add a cast of great dancers, actors and singers and a brilliant director and you have a sensational evening.

There are a few other surprises in "Chicago" but those are best discovered as an audience member at this totally pleasing performance. Chicago runs until October 20, 2001 at the City Hall Theatre.

Alan Smith