Razzle Dazzle Redux

Chicago – Broadway in Chicago

For a show that’s been around for almost four decades, Kander & Ebb’s Vaudevillian satire of the American justice system and, more specifically, of criminals emerging as celebrities, shows no signs of running out of steam. Indeed, the 1996 Broadway production (upon which this National Tour is based), sprang from a crowd-pleasing, well-reviewed NYC City Centers Encores! concert version, and set a record in 1997 for earning the most Tony Awards for a Broadway revival. It’s now the #1 Longest Running Musical, and is still playing in New York after over 7,000 performances. Productions of the show have broken attendance records all over the world and each National Tour proves more popular than the one before it.

The original Bob Fosse-directed production, which starred Gwen Verdon, Chita Rivera and Jerry Orbach, wasn’t well received, mainly because it was a musical way ahead of its time. However, following extensive television coverage of O.J. Simpson’s murder trial, the celebrity criminal came into vogue and the musical’s dark humor and biting satire was finally appreciated. When the show opened in 1975, it was unfortunately overshadowed at awards time by another little musical called “A Chorus Line.”

The current touring production, sadly playing in Chicago for only a week, is absolutely sensational. From musical director Andrew Bryan ’s energetically tireless tempos, played by a top-notch, brass-heavy onstage orchestra, to the gifted, highly accomplished ensemble of stylish actor/singer/dancers, this is a production that truly deserves the label, Broadway in Chicago. Walter Bobbie’s original staging and Ann Reinking’s Fosse-inspired choreography have been lovingly recreated for this masterful road company. William Ivey Long’s slinky, kinky creations of sheer, form-fitting fabric are sexy, black and perfect costumes for a cast sporting zero per cent body fat. Ken Billington’s Vaudeville-inspired lighting bathes John Lee Beatty’s minimalist scenic design, which places the band, along with Mr. Bryan as its emcee-conductor, center stage in a tiered jury box. With its sleek, minimalist look, this production is the epitome of the old adage, less is more.

Lana Gordon, who has the lithe, tight, muscular body of a gymnast and the sultry growl of Tina Turner, owns this production as Velma Kelly. Sexuality oozes from her in every song, beginning with one of Broadway’s best opening numbers, “All That Jazz.” Ms. Gordon, along with the other merry murderesses of the Cook County Jail, sings the heck out of the “Cell Block Tango.” Dylis Croman, a ten-year veteran of this musical, makes a gorgeous and unexpectedly dry and playful Roxie Hart. Her rendition of “Me and My Baby” and “Roxy” stand out as two of this production’s musical highlights. Both ladies have golden pipes and do Bob Fosse proud as dancers, complementing each other particularly in “Nowadays” and the “Hot Honey Rag.”

The one weak link in this production is in casting Eddie George, a former NFL player, in leading role of high profile defense attorney, Billy Flynn. Returning to the role in which he made his Broadway debut, George is certainly a domineering presence; however, he lacks the requisite musical chops for songs like “All I Care About” and “Razzle Dazzle.” However, he somewhat redeems himself with the fast-paced, show-stopping comic number, “We Both Reached for the Gun.”

Jennifer Fouche takes the stage by storm, effortlessly donning the Sophie Tucker-inspired role of Matron “Mama” Morton like a sequined glove. With a big voice and an even bigger personality, Ms. Fouche impresses and soars with “When You’re Good to Mama” and “Class” (a perceptively sung duet with Ms. Gordon), songs that audiences talk about long after the final curtain. Paul Vogt makes a heartbreaking Amos Hart, Roxie’s under-appreciated hubby. His touching performance of “Mister Cellophane” is pure gold. And, last but not least, D. Ratell’s impressive soprano offers musicality and a big surprise as sob sister news columnist, Mary Sunshine.

Smart audiences should drop everything, brave the chilly, wet Spring weather of the Windy City and hurry to the Cadillac Palace to catch this new touring production. It’s a Razzle-Dazzle redux. Theatergoers unfamiliar with this saucy, clever musical lampoon of our judicial system, as well as those who only know the show from the 2002 Oscar-winning film version, this production is calling your name. But, for musical theatre aficionados who are already big fans of this magnificent musical, and have forgotten the magical brilliance of this piece, treat yourself now. The name on everybody’s lips is gonna be “Chicago.”

Highly Recommended

Reviewed by Colin DouglasPresented May 7-12  by Broadway in Chicago at the Cadillac Palace Theatre, 151 W. Randolph, Chicago.

Tickets are available at all Broadway in Chicago box offices, the BIC Ticket Line at 800-775-2000 or online at www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.