INTERVIEW: Terra C. MacLeod on her years of ‘All That Jazz’
Photo: Terra C. MacLeod stars as Velma Kelly in Chicago The Musical, which stops at the State Theatre in New Brunswick, New Jersey. Photo courtesy of Paul Kolnik / Provided by the State Theatre with permission.
Chicago, the beloved musical by Fred Ebb, John Kander and Bob Fosse, continues to draw in audience members on Broadway, decades after its award-winning revival first opened. There has also been an Academy Award-winning movie and successful worldwide tours.
The most recent American tour makes a stop this weekend at the State Theatre in New Brunswick, New Jersey. Performances run through Feb. 17, and audience members should expect hit numbers like “All That Jazz” and “Cell Block Tango,” plus the memorable choreography of Ann Reinking, based off Fosse’s original moves.
In the role of Velma Kelly will be Terra C. MacLeod, who has the played the part for a number of years. The character is a pivotal one for the musical’s narrative. Velma teams up with Roxie Hart (Dylis Croman) while in prison and tries to capture the attention of the scandal-crazed newspapers and gullible public.
Recently Hollywood Soapbox exchanged emails with MacLeod about her time in the musical. Questions and answers have been slightly edited for style.
What do you like best about the role of Velma Kelly?
I’ve had such a great time discovering the many layers of Velma over the years. She’s a resilient woman with grit and determination. This is a strong character with soft edges as well. I’ve come to learn that her tough outer layer is a protective shield to her vulnerability. Her hard exterior is how she is able to protect herself.
I admire her tenacity and humor through all the challenges she faces, especially when Roxy comes in and steals her spotlight. It’s been a great ride learning more about her survival tactics and how she continues to persevere regardless of her situation. Velma also gets to sing some great songs, and I’m honored that I get to sing this iconic score by John Kander and Fred Ebb.
What’s it like to bring this iconic choreography to life?
Honestly in many ways it’s a dream come true for me. Bob Fosse’s work is legendary. His choreography is all about storytelling, and his dancers are the instruments used to deliver his work. Every detail, isolation and execution of movement has a purpose and reason for being there. I’m forever a student with his work, and I continue taking workshops in NYC that focus on his repertoire as I’m continuously wanting to refine the technique and style. I aim to be sharp and clean as I can. I hold that responsibility with great respect and love it that I get to perform his choreography every show.
Do audiences around the United States react differently to the show, or is its impact pretty universal?
Audiences love Chicago across the board both on an artistic level and thematically. The simplicity yet poignant and witty story continues to engage people. It’s a classic, and the themes are timeless. People continue coming back to see the show because there is always something new they can catch the second time around. Whether it’s following one of the characters the first time around to watching a dancer in the show, there is always something new to discover about the show.
Having toured the show around the world over the last decade, I’ve noticed that everyone can relate to the themes that Chicago touches upon — more so today partly due to our social media culture and how it has become such an integral part of our lives. The instant fame and celebrity obsession is more attainable today than years ago due to the impact and power of social media. I’m not saying that’s necessarily a good thing, but it’s a reality. And Chicago touches upon those themes, and the audience gets the irony.
What do you believe are the deeper themes of Chicago? Do you believe there’s a 2019 perspective on the piece?
That’s a great question, and I really think one could write a paper on this topic alone. Last summer I had the opportunity to co-direct a production of Chicago in San Diego. I loved having that experience because it introduced me to another dimension of the show. I was able to dive into every character’s journey and what drove them to go from point A to point B.
There has always been corruption and greed in society, and Chicago plays on our morals and our boundaries. Why do we root for these characters who are corrupt and have committed these crimes? What is it about them that we gravitate towards? …
Perhaps there is intrigue in the darkness and cynicism of these flawed yet relatable characters. There is something raw and vulnerable about them as well, which [is] another layer of appeal. The show is a mirror on society and where some [of] our energy can be misplaced. What is it about glorifying bad behavior or narcissism? From who has the most Instagram likes to Facebook comments to YouTube hits. It’s about getting noticed. In many ways wanting to know what we do matters. All the characters in the show have a motive and purpose, and it’s how they go about it that lures people in.
What’s the future hold for you beyond this current tour?
I’m looking forward to getting back to the city and getting some writing done. There are a few things on the horizon, but in the meantime going to take time to see family and be in the city.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Chicago The Musical, starring Terra C. MacLeod, plays through Feb. 17 at the State Theatre in New Brunswick, New Jersey. Click here for more information and tickets.
