[NEohioPAL] Review of "Chicago" at Porthouse Theatre

[Bob Abelman]

Porthouse's 'Chicago' has all that jazz, just some of the sizzle 

 

Bob Abelman

 

News-Herald, Chagrin Valley Times, Solon Times,

The Morning Journal, Geauga Times Courier

Member, American Theatre Critics Association 

 

This review will appear in the News-Herald 6/24/11

If you're looking for a whoopi spot, look no further than Porthouse Theatre in Cuyahoga Falls, cattycorner to Blossom Music Center.   There you'll find a top-notch rendition of the Tony Award-winning musical Chicago that's well worth the travel time.       

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 musical is infused with jazzy riffs and clever lyrics by John Kander and Fred Ebb, and is forever stamped with choreographer Bob Fosse's signature sultriness.  Chicago is designed to drip with sweltering Prohibition-era lasciviousness.   

The original 1975 Broadway production featured theater legends Chita Rivera and Gwen Verdon in the lead roles.  A 1996 long-running revival starred Bebe Neuwirth and Ann Reinking, also musical theater royalty. 

The revival and touring companies of Chicago suffered from a revolving door of less pedigreed talent plugged into the roles, including film and TV stars Sandy Duncan, Brooke Shields, and Lisa Rinna, and pop recording artist/infamous Saturday Night Live lip-syncher Ashlee Simpson-Wentz.  All this proved that, as good as the material is, it suffers significantly when not in the hands of stellar talent playing Velma and Roxie.

With MaryAnn Black and Sandra Emerick at the helm, the Porthouse production is most certainly in good hands.  

 

Black, as Roxie, is flat-out adorable.  She lights up the stage and does so during the Kander and Ebb torch-songs as well as the opulent production numbers creatively staged by director Terri Kent.  Black is blessed with phenomenal pipes, musical theater wherewithal, and a body built for Fosse's provocative movement-which, as the show's choreographer, she waters down but nicely re-envisions.  She has her finest moments while performing the character-defining "Roxie" number. 

 

While Black is busy lighting up the stage, Emerick goes about the business of owning it.  Also delivering the goods in the singing and dancing departments, she brings a confidence and powerful presence to the role of Velma that fills Porthouse's open-air arena.  Emerick is particularly wonderful in her duet with Black in "My Own Best Friend" and with Melissa Owens, who is superb as Matron Mama Morton, in "Class."

 

In fact, this production is blessed with phenomenal talent in every role.

 

Timothy Culver is thoroughly huggable as Roxie's doormat-of-a-husband Amos.  His sweet tenor melts the audience during the self-depreciating "Mister Cellophane."

 

Porthouse regular Eric van Baars produces just the right amount of canned charm and Teflon appeal as exploitive lawyer Billy Flynn.  He is delightful in the comedic "We Both Reached for the Gun."  

 

Dylan Ratell is fine but oddly understated as radio journalist Mary Sunshine.  It is clear from the program bio that no effort is made to conceal the cross-dressing gag built into this role, so the absence of the charade gives Ratell the license and, perhaps, the obligation, to play it broader.  

 

The ensemble consists of young performers who, while extremely talented and disciplined, do not all possess the hard body physiques typically associated with this show's company.  Consequently, Dave Burrington's costuming features too much fabric and not enough flesh.  While everyone on stage is sexy in their way, it is not uniform and, thus, is less effective in creating the show's necessary sizzle.  

 

The collective visual effect of the ensemble doesn't quite match up to the oozing sultriness generated by the magnificent on-stage orchestra, under Jonathan Swoboda's direction.    

 

Still, this show pops with energy, impresses with talent, and possesses enough razzle dazzle to thoroughly entertain.  

 

Chicago continues through July 2 at Porthouse Theatre, Cuyahoga Valley National Park, Cuyahoga Falls.  For tickets, $13 to $36, call 330-929-4416 or visit http://dept.kent.edu/theatre/porthouse/TicketInfo.htm.
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