Bianca Marroquin (center) keeps coming back to her bad-girl role.
For Bianca Marroquin, one of the lead stars of the award-winning musical “Chicago,” the only thing constant in life is change—and Roxie Hart.
The theater artist remembers exactly when she first portrayed Roxie: Oct. 24, 2001, in her native Mexico; she was 25, one of the youngest to land the part. The following year, Marroquin, now 39, became the first Mexican celeb to earn a starring role in a Broadway production. “June 18, 2002!” she pulled out the numbers in a heartbeat.
Marroquin has been doing the show on and off for the past 13 years. But the singer-actress hasn’t grown tired of it one bit, she insisted.
“With everything that has happened to me personally, all the changes and losses I went through, I keep coming back to Roxie Hart—the only one waiting for me with open arms. No judgments, no questions,” Marroquin said at a recent press conference for the musical’s ongoing Manila staging, which runs until December 21 at Solaire’s The Theatre.
She pointed out that her Roxie in Manila will be very different from how she did it when she debuted. “I always have something new to offer to the role,” she said. “I’ve matured and never stopped feeding her (Roxie) with all the wonderful things I’ve experienced.”
Over a decade
Also present in the media event were her coactors from the Broadway touring company, which includes Terra MacLeod (Velma Kelly) and Roz Ryan (Matron “Mama” Morton). Like Marroquin, MacLeod and Ryan still find things to be excited about, despite having been part of it for 11 and 16 years, respectively.
Ryan pointed out that each show—and she has done thousands—is different. “The audience and cast are never the same. Every time I go somewhere, there are always old and new people who create a new chemistry. The show doesn’t change, but the energy does,” she said.
“There are certain areas in the performance in which we can break the fourth wall and communicate. And when we do that, the response of the people determine how well we are doing,” said Ryan, who added that the show is fascinating for its simplicity.
“You can just sit there, follow it and be entertained… you just have to come and surrender yourself to the show.”
French productions
MacLeod, who originated the role of Velma Kelly in the show’s French productions in France and Canada, said that she’s lucky to be working with people whom she loves dearly, which, in turn, makes her look forward to coming to work—if you could call it that.
Terra Macleod (right), with costar Marroquin, says she laughs with the cast on- and offstage.
“I’m thankful to be with people with whom I can laugh on- and offstage. I don’t think that 11 years have gone by; I see it as a journey.”
Based on a 1926 play written by Maurine Dallas Atkins, the musical “Chicago”—with music by John Kander, lyrics by Fred Ebb and choreography by Bob Fosse—debuted on Broadway in 1975, and then in the West End in 1979. It was revived in 1996, and was subsequently adapted into an Oscar-winning movie in 2002.
Set in the 1920s, the musical tells of nightclub dancer and aspiring vaudeville star, Roxie Hart, who murders her paramour. Roxie then begs her husband to hire the slickest criminal lawyer, who makes celebrity headlines out of her crime.
Last November 23, “Chicago,” directed by Walter Bobbie, staged its 7,486th performance on Broadway, making it the longest-running musical in the United States’ famed theater district.
Longevity, timelessness
Asked what they think is behind the show’s longevity, the actors said that it’s because “Chicago” tackles themes and issues that are still very much prevalent these days—greed, lies and media manipulation, among a couple.
Marroquin chimed in: “It’s a critique of the system—how these people commit crimes, and get turned into celebs by the media; how they lie in court and get away with it. These things happen all the time. This musical makes it digestible for the audience, with a bit of dark
humor.”
Meanwhile, asked how she would describe “Chicago” to someone who hasn’t seen the musical or the film, Ryan said that it’s “hot, sexy and two-hours of nonstop entertainment.”
The “sexy” part, musical director Robert Billig jested, could pose a challenge to the musicians, who stay onstage. “It’s easy to be distracted because the show is right in front of you, and you get fascinated by all the hot dancers. That’s why one of the first things I tell the musicians is to pay no attention to the people onstage!” Billig told the Inquirer.
Billig selected Filipino musicians to be a part of the ensemble, who were assessed based on their experience and musical background; proficiency in jazz, of course, is a plus. Among those who made the cut are Jayson Alvarez (clarinet, piccolo, saxophone) of the Philippine Philharmonic Orchestra, as well as Lester Demetillo (ukulele banjo, mandolin, guitar), a music teacher at the University of the Philippines.
And no, they haven’t been distracted. “We can’t be,” Alvarez and Demetillo, chorused laughing. “We have to focus on our music.” Demetillo added that being able to play for a big international production like “Chicago” is an additional “medal” to their careers. “It feels good to be part of this show—it’s fun and always challenging.”
Billig had only good words for the local musicians. “We sent them the music in advance, so that they could start familiarizing themselves with it… they did their homework. They’re great,” he related.
“Chicago the Musical” is staged in Manila by Lunchbox Theatrical Productions, David Atkins Enterprises and Concertus Manila. For tickets, call 891-9999 or visit www.ticketworld.ph.
(Email apolicarpio@inquirer.com.ph)