[NEohioPAL] Review of "Chicago" at PlayhouseSquare

[Bob Abelman]

Chicago tour has, for the most part, all that jazz 

 

Bob Abelman

News-Herald, Chagrin Valley Times, Solon Times, Geauga Times Courier

Member, International Association of Theatre Critics 

 

This review appeared in the Times papers 1/21/10

The national tour of the Tony Award-winning Chicago, currently on stage at the Palace Theater in PlayhouseSquare, has it all:  a jazzy storyline grounded in delicious scandal and cold-blooded murder, one show-stopping musical number after another, and the sexy and stylized choreography of Bob Fosse performed by an ensemble of scantily-clad hard-bodies.

It lacks one thing that the Broadway production has.  Fortunately.

Chicago is about Cook County murderesses Velma Kelly and Roxie Hart.  One killed her husband and sister after finding them in bed together and the other killed her lover when he walked out on her.  They find themselves on death row and in competition for notoriety in the fickle 1920s Chicago press, which will keep them from the gallows and bring them fame and fortune.

The original 1975 Broadway production featured theater legends Chita Rivera and Gwen Verdon in the lead roles.  The 1996 revival, still in production and now the sixth longest-running musical in Broadway history, starred Bebe Neuwirth and Ann Reinking, also extraordinarily talented musical theater royalty. 

Since their departure, a revolving door of less pedigreed but popular and occasionally trendy talent has been plugged in to fill the void, including film and TV stars Sandy Duncan, Brooke Shields, and Lisa Rinna.   Currently playing Roxie in the New York production is pop recording artist, reality show denizen and SNL lip-syncher Ashlee Simpson-Wentz.

Fortunately the touring company offers the real deal, the magnificent Bianca Marroquin and Brenda Braxton. 

 

Roxie has been played a wide variety of ways, based on the particular strengths of the specific actress taking on the role.  Ms. Marroquin is of the flat-out-adorable variety.  She lights up the stage and is consistently endearing as she segues from a Kander and Ebb torch-song to an opulent production number.  Blessed with phenomenal pipes, musical theater wherewithal, and a body built for Fosse's seductive movement, she has her finest moments handling the comedy in "We Both Reached For the Gun" and performing the character-defining "Roxie." 

 

While Ms. Marroquin is busy lighting up the stage, Ms. Braxton goes about the business of owning it.  Also delivering the goods in the singing and dancing departments, she brings a confidence and presence to the role of Velma that makes it difficult to shift focus to Ms. Marroquin, members of the exceptionally gifted ensemble cast, or the huggable Tom Riis Farrell as Roxie's all-but-obscured husband Amos.  The stage is brimming with talent.

 

The exception is Tom Wopat as the silver-tongued lawyer Billy Flynn, a role that has also become a revolving door.  Best known for being Luke in TV's Dukes of Hazzard, Mr. Wopat has some impressive musical theatre credits and a fine singing voice.  However, he lacks the charm, grace and appeal the character requires and walks-not dances-his way through numbers like "Razzle Dazzle."  

 

Also disappointing is Carol Woods as Matron "Mama" Morton.  She has a phenomenal gospel voice, but lacks mobility and brings nothing to her interpretation of the innuendo-filled solo number "When You're Good to Mama."   When she sings lines like "if you want my gravy, pepper my ragout," it seems as if she is actually singing about food.

 

These distractions do little to steal the thunder from an otherwise stellar production. This is fast-paced, sensory-filling musical theater at its best.  It is an absolute pleasure to watch and, thanks to a largely local on-stage orchestra under the astute direction of Andrew Bryan, it is a pleasure to listen to.  

 

Chicago is in Cleveland through January 24. For tickets, call 216-241-6000 or visit www.playhousesquare.com.
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