[NEohioPAL] Review of Rabbit Run's "Chicago"

[Bob Abelman]

Rabbit Run's 'Chicago' lacks all that jazz 

 

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 7/22/11

 

Like a chicken pox epidemic, some musicals just seem to pop up one place and then another.  Last summer, Cleveland encountered a severe, fast-moving and wide-spread outbreak of Bye Bye Birdie.

 

Now there's a plague of Chicago sweeping through the area. It began with the Broadway tour at PlayhouseSquare, metastasized to Aurora Community Theatre, spread to Porthouse Theatre in Cuyahoga Falls just last month, and is now running its course at Rabbit Run Theater in Madison.

 

Chicago, with its sweltering Prohibition-era lasciviousness, jazzy riffs by John Kander and Fred Ebb, and signature sultriness courtesy of original choreographer Bob Fosse, is designed to induce heart palpitations in the elderly and leave the rest of us dripping from fever.  Fishnets, revealing lingerie, and heels are standard issue in this musical.  And the women wear costumes as well. 

 

The story features Cook County murderesses Velma Kelly and Roxie Hart.  Kelly killed her husband and sister after finding them in bed together and Roxie killed her lover when he dared to walk out on her.  They find themselves on death row and in competition for notoriety in the fickle 1920s Chicago press, which will bring them freedom, fame and fortune.   

 

Despite its good intentions and talent galore, Rabbit Run's rendition of Chicago is anemic.  Director Brint Learned is unable to generate the requisite sizzle and sass so evident in other recent productions and so necessary in all productions of this musical.  

 

Nearly everyone on the Rabbit Run stage seems to still be trying this production on for size to see how it fits.  With rare exception, performances aren't finite or performed with the kind of confidence that allows the audience to believe that these people are who they say they are.  Everything seems staged, self-conscious and slow to develop, which keeps the audience at a distance.  

 

Part of the problem is the set design by Ray Beach.  He has constructed a magnificent double staircase at the center of the stage that keeps featured players far removed from the audience and in fear for their lives as they negotiate their downward flights.  So much energy and concentration is devoted to their descent that the song being sung seems a secondary concern until safe footing is regained.

 

The staircase is used frequently and seemingly out of obligation rather than purposeful intent.  

 

Also part of the problem is Ken Gasch's choreography.  Much of the dancing deviates from things Fosse-esque, which is Gasch's prerogative.  However, most of it seems crafted to create business as opposed to complement the lyrics and the music, which is wonderfully performed by the on-stage orchestra under Eddie Carney's direction.  The entire "All I Care About" number, for example, is staged to merely set up a visual punch line that does not pay off.  

 

The incompatible choreography that occurs during the "Cell Block Tango" number and the lack of creativity in "We Both Reached for the Gun" are missed opportunities.

 

What is particularly unfortunate is that the choreography fails to take full advantage of the talents of Jennifer Griffin, who plays Velma, and Jordan Malin, who plays Roxie.   Both are exceptional dancers, but Griffin is often engaged in movement that is uncharacteristic of her character and Malin spends more time strutting than dancing, particularly in her defining "Roxie" number. 

 

Gasch may have been operating at a disadvantage, for neither Velma nor Roxie are fully formed characters in this production.  There is little that Griffin or Malin do that is distinctive or interesting with their roles.  As a result, neither Velma nor Roxie come across as particularly likable.  

 

Uninteresting also describes Brian Altman as the exploitative lawyer Billy Flynn and Linda Fundis as jail keeper Matron Mama Morton.  Both of these performers play it safe but certainly have the acting chops not to. 

 

The only featured performer that truly excels is Paul Felden as Roxie's doormat-of-a-husband Amos.  He is wonderfully self-depreciating and melts the audience during his nicely nuanced "Mister Cellophane" number.  Several members of the ensemble are also quite good.

 

There are isolated moments throughout this production when things click; when all the elements work and performances ooze sultriness and conviction.  This suggests that it is not too late for this production to find its footing.  If enough of these moments can be strung together, this production of Chicago can be the cure for what ails you rather than the latest installment in the epidemic.

 

Chicago continues through July 31 at Rabbit Run Theater, 5648 W. Chapel Rd., in Madison Township. For tickets, $17 to $19, call 440-428-7092 or visit www.rabbitrunonline.org.  
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.neohiopal.org/pipermail/neohiopal-neohiopal.org/attachments/20110720/a331be33/attachment-0003.htm>