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| Ruthie Henshall as Roxie Hart |
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Past/Present/Future for … Ruthie HenshallDate: 4 January 2010
Ruthie Henshall has returned to the role of murderess Roxie Hart in the West End revival of Chicago, for which she was Olivier nominated when the production first opened in 1997. It’s her fourth stint in the Kander and Ebb musical, having reprised her original role on Broadway and played fellow murderess Velma Kelly on both sides of the Atlantic.
Henshall won an Olivier in 1995 for her portrayal of Amalia Balash in She Loves Me. Her many other musical credits include Les Miserables, Oliver!, Cats, Miss Saigon, Crazy for You, The Woman in White, Putting It Together and, most recently in the West End, the title role in the world premiere of Michel Legrand’s Marguerite at the Theatre Royal Haymarket last year.
Henshall’s TV credits include Dancing on Ice, on which she was a judge, Putting It Together, A Christmas Carol and The Sound of Musicals.
The current revival of Chicago, directed by Walter Bobbie, opened at the Cambridge Theatre (where the musical’s original London production ran for 603 performances from April 1979) on 28 April 2006, after eight-and-a-half years at the Adelphi Theatre. It won the 1998 Laurence Olivier Award for Outstanding Musical Production as well as the 1998 Critics' Circle Award for Best Musical. Kander and Ebb’s 1975 musical is based on the play by Maurine Dallas Watkins and has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.
PAST: When we first opened, it was off the charts, really. We knew we were doing this show called Chicago and that it had been a success in America, but that doesn’t necessarily mean it’s going to be success here. It was unbelievable how the press just couldn’t get enough of it. The posters and the whole way they sold it here was so sexy and so different. By the time we got to opening night, with that and the reaction from the audience during previews, we knew we had this express train that was leaving the station. It was sexy and funny and, because it came just on the tail of the OJ Simpson trial, the idea of getting away with murder if you are in the media was so relevant.
Playing Roxie Hart was huge for my career. Before that, I had always played the pinafore parts - Polly in Crazy for You, Amalia Balash in She Loves Me. They were very much the juvenile lead roles, and then this came along and it was Ruthie, the woman. I auditioned and fought for the part just like everybody else did and, I think, when the casting was announced, there were few raised eyebrows: Ruthie Henshall doing dark and sexy? So it was a very important turning point in my career.
We had an amazing opening cast too, including Ute Lemper as Velma Kelly and Henry Goodman as Billy Flynn. Ute was this huge bright light on a stage and, when she left the show before I did, I felt bereft because my competition had gone. In that first year, that helped keep it so fiery and sparky in that first year - knowing how great she was, I really had to keep my standards up. She said she felt the same about me so we were both constantly upping our game with each other. And Henry could do no wrong in my eyes. Absolutely, he blew me away as Billy Flynn. The whole company were so close, very bonded, especially the four leads. We were never out of each other’s company. It was a bit like being in an episode of Friends for a year!
PRESENT: Since then, Chicago has been on and off in my life. I went to America and they asked me to play Velma, then they asked me to I play Velma back in London, and now they’ve asked me to play Roxie again. I am thrilled because these are two of the best women’s leading roles in musical theatre. And what a privilege to do something again eleven years on and be able bring that eleven years’ more experience into a part.
I definitely don’t play her the same as I did. I remember what I did and it doesn’t really fit with a 42-year-old woman. Getting back into the groove of the show is harsh because it is quite brutal physically - Roxie is on stage virtually all night so it doesn’t let up on you. It’s a little harder each time I do it to get back into that sort of stallion shape that’s required to be in this company.
You have to be at your peak when you do this show. This is a company full of stallions. I call myself a little pit pony next to them. But I can feel my breath getting back a little easier with every performance. When you’ve been a dancer and you get back into a dancing show, your fitness levels really jump up quite quickly because your body remembers.
I think Chicago continues to be such a hit because it’s sexy, well written and the songs are totally memorable. It takes you on an emotional journey. You fall in love with the characters who, actually, are not very nice really. Billy Flynn is a bit of a weasel. Velma and Roxie have both knocked somebody off. Mr Cellophane is a bit of a drip. And Mamma Morton ... what is that all about?
The Hollywood film definitely impacted the stage show. More people wanted to come see it after that. And, in my opinion, the live experience is always far better than sitting in a dark cinema watching a screen. Although I thoroughly enjoyed the film, I wasn’t a fan of the MTV videoshoot style when they were doing the dances, all those flickering images, images, images. I just wanted to see them dance.
FUTURE: I’ve got a few concerts going on and I have lots of television ideas actually, lots of irons in the fire. I’m also putting together a one-woman show. It will be a concert-style show with something more; not just standing around singing number after number. That’s hopefully for this autumn in London.
As for Chicago, do you know, as long as this show is still running, it will always be a temptation. This my fourth time doing it, so maybe this should be it, but who knows? Never say never. It’s very tempting.
Chicago is running at the West End’s Cambridge Theatre.
- by Terri Paddock
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