Whether you’ve seen the movie or loved it on stage, Chicago has long been a beloved favourite for musical fans. The merry murderesses of the Cook County jail have razzle-dazzled stages the world over, and while it has embraced a revolving door of actresses behind its leads, Velma and Roxy, one constant has always remained: the indelible image pressed on by William Ivey Long.
Joining the production in 1996 during a great revival of Chicago that had not been enjoyed by audiences since dance icon Bob Fosse revitalised it in the 70s, Long has been lauded for his work in Tony-award-winning productions. Key notes from his costume direction can be caught live on stage for the South African run of Chicago. While the Gatsby-esque costumes of the 2000s screen adaptation have become a favoured image, it’s Long’s eye for slinky, all-black looks that truly define what Chicago looks like.
Speaking to Sunday Times, Long shared the storied history behind keeping Cook County’s couture alive. In today’s setting, the athletic lead and ensemble shimmy in their tight, slinky pieces. Something he sets out with is how they have always approached rivals, Roxy Hart and Velma Kelly.
“You have to remember the show is based on the roaring 20s and that’s where we get Roxy’s flapper dresses,” he says. “Velma is in the 70s for that bold Fosse choreography.”
Both become lead looks that become the connective tissue of a Chicago look — not just stockings that run or rouged knees but the most unexpected pieces like the “Bob Fosse Bell Bottoms”, as Long puts it.
To avoid an antiquated approach to the looks, garments have often been inspired by Long’s visionary eye with mood boards and clippings that keep the chorus line fresh. From the subways to runway shows on Women’s Wear Daily, Long has even found inspiration from today’s designers. These key changes have allowed each star behind the characters to shine, including a bevvy of Real Housewives and talk-show hosts like Jerry Springer — but for Long, there are no favourites.
“Whenever I work with a new cast member, we always end up bonding. It’s always thrilling. We just wrapped up with Mira Sorvino and it was wonderful,” he says, praising her and previous experiences as Roxie Hart.
And outside of expectant stars and demanding directors with wild filter and lighting choices, Long — like many stage play costume directors — has to contend with the difficulty of preparing pieces that will be exposed to foreign elements outside of their control at times, something he has put to the test through the sinuous performances in All I Care About.
“Whatever we put them in, it has to survive that number,” he says, doting over the stretch fabrics that must survive the yoga-esque poses that they find themselves in while cooing for Billy.
Lighting also plays a big role when put through fluorescent lights that can pick up different shades of yellow, red, blue and green in black fabric.
Due to the arduous process of getting fabric to a black tone, these can either come out in warm browns or blue tones over time, or require costume teams to temper their mettle for scenes that require different lighting.
“But now it’s harder to get this. Manufacturers cut costs so the fabrics are not as wonderful,” says Long.
Shifting to cheaper fabric production also means the pieces created aren’t always as durable, but among Long’s alternatives are unexpected matches. “I always want a velvet suit for Billy. It’s the deepest black you’re gonna get,” he says of a trick around suiting which he uses to make his own pinstripes.
And as many celebs lay claim to being inspired by the show, one always stands out for the designer. “I’m always inspired by Beyoncé!” he says, praising her use of cuts and bodysuits.
• Chicago is currently showing at the Montecasino until November 9.
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