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The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Reviews Chicago, The Musical Music by John Kander, Lyrics by Fred Ebb
Reviewed by Keith Waits Entire contents are copyright © 2009 Keith Waits. All rights reserved. If you have only seen the movie version of Chicago then you are missing out; missing out on the funnier, sexier and more freewheeling stage revival of the story that may surprise many who are familiar with the highly entertaining Hollywood rendition, which can seem slightly stuffy in comparison. The original version of this show, developed, co-written, choreographed and directed by Bob Fosse, was a limited success, playing for 936 performances on Broadway in 1975, but provoking a decidedly mixed reaction from critics and was largely overshadowed by another new production that arrived on Broadway that season, A Chorus Line. Still, as with almost everything Fosse, it became legend. It wasn't until the 1996 revival, choreographed by longtime Fosse associate Ann Reinking, that the show became an oversize success, winning Tony awards and being adapted into the all-star, Oscar-winning film in 2003. And still, 13 years later, it is a touring production in high demand. The style and presentation of the show is stripped down to a bandstand surrounded by steps and risers, allowing the simple look to be dominated by the dynamic cast and chorus, clad in stark black costumes, much of it of a highly provocative nature. The overt sexuality continues in the choreography, created, "in the style of Bob Fosse," which contrasts the sharply defined bodies with languid, erotic movements, full of sly suggestion and performed by an amazing cast who never miss a beat. The story follows two women on murderer's row for killing men who have abused them, Roxie Hart and Velma Kelly, and their attempts to escape the hangman through the machinations of the slick, high-priced lawyer Billy Flynn. They are aided by the Matron "Mama" Morton, who rules the women's prison ward with a corrupt, iron hand, while Roxie's milquetoast husband, Amos, earnestly struggles to keep up with the complex web of deceits. The story is perfectly suited to be the basis of a jazzy musical, but is also imbued with a cynical attitude towards the hypocrisy and corruption in both the popular culture and the legal system. It is this darker perspective that gives the comedy just enough edge and keeps audiences coming back for more. Bianca Marroquín's portrayal of Roxie emphasized the humor with delightful detail and timing, but she also proved a most fluid and exciting dancer. Her liquid movements may seem to run counter to the edgy style of the choreography, but she brought her own individual take on the character to triumphant life, especially during the bravura delivery of the lengthy but richly rewarding, "Roxie". Terra C. MacLeod was a perfect Velma, all harsh angles and desperation as she competes with Roxie for the limelight. Her, "When Velma Takes the Stand", is just one example of a great number that was cut for the movie and can only be seen here. Lexington native and former Backstreet Boy Kevin Richardson delivered a confident and authoritative Billy Flynn, softening the extreme arrogance of the character with appropriate amounts of razzle dazzle.
Besides the uproarious humor and caustic commentary on American society, Chicago onstage also emphasizes the jazz score with a top-notch group of musicians performing onstage in every scene. It was a genuine thrill to see them perform the lively, Entr’acte music at the top of Act Two. The whole thing is just irresistible show biz and only the most dedicated curmudgeon would dare walk out unhappy with the result.
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