All That Jazz and Much More

Chicago

“Ladies and Gentleman,” announces an ensemble member bathed in a spotlight, “You are about to see a story of murder, greed, corruption, violence, exploitation, adultery and treachery—all those things we hold near and dear to our hearts.” And then suddenly the stage becomes ablaze with sexy, bluesy music and a cast of brilliant performers, singing and dancing their hearts out, all ready to set this story in motion. In pure Brechtian style, the fourth wall is shattered and the audience becomes included in the telling of this cynical, satirical story. This is “Chicago”!

Heralded currently as the Longest-running Musical Revival, this 25th Anniversary National Tour of “Chicago” has actually been around for almost four decades. With a book co-written by Bob Fosse & Fred Ebb, and music and lyrics by Ebb and his writing partner, John Kander, this Jazz Age Vaudevillian burlesque of the US justice system shows no signs of packing it in any time soon. Indeed, the 1996 Broadway version (upon which this National Tour is based), sprang from a critically praised and patron-popular New York City Centers Encores! production. The stripped down concert production went on to set a record in 1997 for earning the most Tony Awards for a Broadway revival (until the 2008 revival of “South Pacific” garnered 7 Tony Awards). And, remarkably, the musical is still playing to packed audiences on Broadway after well over 7,000 performances, currently making it Broadway’s second longest running show of all time. Productions of the musical have been breaking attendance records all over the world and each National Tour proves more popular than the one before it. 

The original Bob Fosse-directed 1975 production, which starred Gwen Verdon, Chita Rivera and Jerry Orbach, wasn’t as well received because it was said to be ahead of its time. The musical was harsh and cynical, and was based upon a 1926 play by Maurine Dallas Watkins. She had fictionalized two unrelated Chicago court cases from a couple of years earlier. Both the play and the musical were satires of criminals-as-celebrities. The show made some audience members uncomfortable and was unfortunately overshadowed at awards time by “A Chorus Line.” However, following the 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 became appreciated.

The current touring production is now playing in Chicago for (sadly) a mere week, and it is sensational. From Ralph Burns’ snappy Orchestrations, to Musical Director Cameron Blake Kinnear’s energetic tempos played by a top-notch, brass-heavy onstage orchestra, to the highly accomplished ensemble of 

actor/singer/dancers, this is a production that is deserving the label, Broadway in Chicago. Walter Bobbie’s original staging and Ann Reinking’s Fosse-inspired choreography has been lovingly recreated for this exciting National Tour by Tania Nardini and Gary Chryst. William Ivey Long’s kinky and slinky all-black costumes are sheer and sexy and perfect for these actors, most of whom sport zero percent body fat. Ken Billington’s Vaudeville-inspired lighting bathes John Lee Beatty’s minimalistic scenic design which seats the band, complete with its emcee-like conductor, center stage in a jury box. The sleek look of this production is the highly-praised epitome of Less-is-More.

Logan Floyd, who has the lithe, supple body of an Olympic gymnast and smoky singing voice of a sultry chanteuse, practically owns this production as Velma Kelly. Sexuality oozes from their every song, beginning with one of contemporary Broadway’s best opening numbers, “All That Jazz.” Logan, along with the other merry murderesses of the Cook County Jail, sing the heck out of the “Cell Block Tango.” But Katie Frieden soon takes ownership of this production as a stunning, seductive and an often side-splitting Roxie Hart. This redhead’s rendition of “Me and My Baby” and “Roxy,” which begins as a monologue played against the orchestra’s pulsating vamp, are two of the show’s musical highlights. Both actors have golden pipes and do Fosse proud as dancers, particularly when performing together in “Nowadays” and the “Hot Honey Rag.”

 Returning to another National Tour, handsome and talented actor/singer Jeff Brooks gives a stellar performance as famed lawyer, Billy Flynn With his smarmy demeanor and a gorgeous singing voice, Brooks makes a suavely captivating Billy Flynn crooning “Razzle Dazzle” and making “We Both Reached for the Gun” a comedic, show-stopping number. Christina Wells effortlessly wears her Sophie Tucker-inspired role of Matron “Mama” Morton with pride. Armed with a big voice and an even bigger personality, Ms. Wells soars with “When You’re Good to Mama” and a duet with Floyd hilariously entitled “Class.” “Mister Cellophane,” Brian Kalinowski makes a touching Amos and G.A. James’ impressive, operatic soprano offers several surprises as sob sister news columnist, Mary Sunshine.

Making a return visit to its namesake city, in a stay that’s all too brief, audiences will be wise to hurry to the CIBC Theatre in the Loop to catch this new touring production. For anyone unfamiliar with this merciless, musical lampoon of the city’s judicial system, or for those who know this show only from its 2002 Oscar-winning film version, this new touring production of is calling your name. But, for patrons who are already big fans of the Kander & Ebb classic, but have forgotten the magical brilliance of this piece, treat yourself now. Because, to parody one of the numbers in this show, “The name on everybody’s lips is gonna be “Chicago.”

Highly Recommended

Reviewed by Colin Douglas          

Presented January 17-29 by Broadway at the CIBC Theatre, 18 W. Monroe, Chicago.

Tickets are available at the theatre box office, by calling the BIC Ticket Line at 800-775-2000, at Ticketmaster locations and by visiting www.BroadwayinChicago.com.

Additional information about this and other area productions can be found at www.theatreiinchicago.com.