By Mohamad Hojeije | Staff Writer
The longest-run iconic Broadway musical, Chicago, debuted for the first time in Lebanon, this May 5th, at Casino Du Liban. Having been extended several times, the musical was seen as a success by the local media.
Set in the roaring 1920s, the show tells the tale of Roxie Hart (Nancy Nar, played by Cynthya Karam), a fame-hungry chorus girl who becomes entangled in a web of murder and scandal. The plot unfolds in the backdrop of Chicago, where crime and corruption reign supreme. Chicago is renowned for its iconic musical numbers, including “All That Jazz” and “Cell Block Tango,” which showcase the incredible talents of the cast through energetic dance sequences and powerful vocal performances. The musical delves into themes of celebrity, corruption, and the pursuit of the American Dream, offering a satirical commentary on the sensationalism of the media and the fickleness of public opinion.
However, this new edition of the famed Broadway show is quite unique. The show is performed entirely in Arabic – in the Lebanese/Beiruti accent – and includes carefully researched adaptations to the historical and political context of Beirut, drawing parallels between corruption, fame, and entertainment between the two cities. I interviewed Matteo El Khodr, Lebanese countertenor, artist, and actor that played the role of Mary Sunshine (Nour El Shams), discussing the significance of a Broadway show in Lebanon, and the parallels between the show and life in Beirut.
Matteo told me that the show premiering for the first time in Arabic in Beirut is a statement to Lebanese excellence and a reminder that the country, despite complications, is culturally relevant. “I think that Beirut, despite everything, all the political tensions that we have, the tensions of the neighbors, and everything that’s happening around us … I think we would still and will forever be the cultural hub for the region. We are trendsetters in everything, most of all in art and crafts in design, fashion, in, theater and music. We don’t have the means. We don’t have the money. We don’t have the budget anymore like before. But I think that we have this notoriety and this credibility that Lebanese people do their best.”
We also discussed the sensuous nature of the show and its relevance to an Arab stage. “I think it is very daring to have this in Beirut, because of our region. Everybody is super-hot on stage. Everybody’s super sexy. It’s literally a cabaret. So, it’s very sexy, the costumes are lingerie and it’s all very sensual. My role is very daring. I am going to be playing Mary Sunshine, I’m a drag queen. So, I’m going to be dressed like a woman with a wig, etc.” Perhaps illustrating Beirut’s and Lebanon’s openness to new ideas and forms of expression.
Finally, I asked Matteo about the relationship between the two cities. “It’s not happening in Chicago; it’s happening in Beirut. The language that we’re speaking is totally Beiruti, like the currency is the Qirsh and Lira, like back in the 20s. The location is like Hamra, the script has been adapted in a very witty way because they’re talking about the corruption in Lebanon, they’re talking about the politicians in Lebanon. Yeah, we’re talking about all the crap that’s happening, so, it’s very actual”.
The musical was extended twice in Lebanon thus far, having sold out every time. Matteo concluded by telling me that “it’s a beautiful, good point for Lebanon, despite the situation, and for the region, that culture-wise we’re still here and we’re still doing beautiful things.”