[NEohioPAL] Berko review: CHICAGO @ Porthouse Theatre

[Roy Berko]

CHICAGO jazzes it up at Porthouse

Roy Berko

(Member, American Theatre Critics Association)

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In a good production, CHICAGO, the musical, sizzles with creative dancing 
exciting music and fun characterizations.   The Porthouse Theatre production 
sizzles, and is creative and fun!  ‘Nuf said.

In the words of my 15 year-old “kid reviewer” grandson, Alex, “That was great!”  
The award winning composer enthused, “The music was not only well written, but 
well played.  The acting is right on.  The singers sang meanings, not just 
words.  The dancing was creative, and except for some unity problems in a couple 
of the numbers, was well done!  The vocal blendings were excellent.  Grandpa 
totally agreed with him.

CHICAGO, which is set in Prohibition era Chicago, is a satire on the Windy 
City’s well known police and judicial corruption.  The mayhem gave birth to 
celebrity criminals whose fame came and went as newer and more outlandish crimes 
and payoffs came forth. 
The musical is based on a play of the same name written by Maurine Dallas 
Watkins, a Chicago Tribunereporter who was assigned to cover the 1924 trials of 
murderesses Beulah Annan and Belva Gaertner.
Annan, who was acquitted of murder through a reported series of payoffs, became 
the model for the Roxie Hart. Velma is based on Gaertner, a cabaret singer who 
was also conveniently acquitted of murder.   Billy Flynn, the lawyer character, 
is a composite of the two lawyers in the real cases.
The musical’s path to production started in the 1960s.  Superstar Gwen Verdon 
read the play and asked her husband, the great Broadway choreographer, Bob 
Fosse, about creating a musical adaptation.  Fosse approached playwright Watkins 
numerous times to buy the rights, but Watkins, who had become a born-again 
Christian, refused as she believed her play glamorized a scandalous way of 
living.  Upon her death the rights were obtained and Fred Ebb began work on the 
musical score.  Ebb and Fosse penned the book and Fosse directed and 
choreographed.  And, as the saying goes, the rest is history. 
The original Broadway production ran for 936 performances and starred Chita 
Rivera as Velma, Gwen Verdon as Roxie and Jerry Orbach as Billy.   The script 
was revived in 1996 and holds the record for the longest-running musical revival 
on Broadway, now clocking over 6,000 performances.  The 2002 film version, which 
starred Catherine Zeta-Jones, Renee Zellweger, Richard Gere, John C. Reilly and 
Queen Latifah, won the Academy Award for best picture.

Porthouse’s production, under the direction of Terri Kent, is excellent.  The 
show moves along at a fast pace, building on the vaudeville motif by having 
musical director Jonathan Swoboda serve not only as the orchestra leader, but as 
the narrator.  It’s a clever technique which adds to the show’s whimsy.

Choregrapher Mary Ann Black’s has modified the original Fosse choreography to 
fit the talents of the dancers and the thrust stage venue.  Though I would have 
liked the dancers to get lower to the ground and have more definitive hand and 
arm gestures, ala Fosse style, the enthusiasm and effect comes through loud and 
clear.  

Swoboda’s band is excellent.  The musical sounds don’t drown out the singing and 
fills the space with the right jazz beat.

Black, who not only choreographed, but plays the cute, conniving Roxie, is 
terrific in the role.  She dances, mugs, feigns innocence and creates a 
delightful killer.  Her solos Funny Honey and Roxie, were show highlights.

Sandra Emerick, Velma, sings, acts and dances well.  Her All That Jazz lights up 
the stage.  Her duets with Black, My Own Best Friend, Nowadays and I Know a 
Girl/Me and My Baby brought gales of applause.

Eric van Baars is fine as Billy.  His singing and dancing are solid.  He may 
have added to the role with a little more swagger and arrogance.

Timothy Culver, who portrays Roxie’s nebbish husband, brought down the house 
with Mister Cellophane.

Dylan Ratell confounds as the cross-dressing Mary Sunshine.  He sings with a 
castrato voice that is outstanding.  (Castrato is a male with a singing voice 
equivalent to that of soprano or mezzo-soprano.)  Wow!

Melissa Owens’ Matron Mama Morton, lacks the hard edge and commanding presence 
needed for the role.  Her When You’re Good to Mama lacked the needed power, 
presence and conniving tone.

Stick around for the song and dance routine after the closing lines.  Black and 
Emerick delight.

CAPSULE JUDGMENT: CHICAGO, Porthouse style, sizzles and delights.  It makes for 
a perfect summer treat.  Go!  See!  Enjoy!

The show runs until July 2 at Porthouse Theatre, on the grounds of Blossom Music 
Center.  For tickets call 330-672-3884 or go online to www.porthousetheatre.com.
 
Roy Berko's blog, which contains theatre and dance reviews from 2001 through 
2011, as well as his consulting and publications information, can be found at 
http://royberko.info.  His reviews can also be found on www.coolcleveland.com 
and www.NeOHIOpal