Chicago, the longest-running American musical, is a swanked up, jazzy tale sure to leave you kicking your heels and clapping along. Contrary to the pretentious, over-the-top style with which Broadway is more commonly associated, Barry and Fran Weisler’s Chicago is a performance of simplicity; its monochromatic essence in costume and stage design set it apart from popular contenders.
The Chicago Orchestra, under the direction of John Johnson, was an incredible asset to this distinguishing factor, accompanying the actors with tasteful musical renditions of the popular hits. Audience members from around the globe could not seem to get enough of the opening number, “All that Jazz”. In fact, the couple next to me had seen the show six times prior and returned for a seventh to perfect the shimmy! However, apart from the unique stage set-up, select musical numbers, and key actors/dancers, Chicago may have been a bit too simple for the Broadway price, and not enough to uphold its title as a “Champion of Broadway”.
The musical, set in the county jail during the vaudeville era of the 1920s, clearly tells the story of Roxie Hart (Paige Davis) and Velma Kelly (Amra-Faye Wright), two performers whose shared desire for a claim to fame is inhibited by the murders they have committed against their former flames. Their stories are, unfortunately for them, not out of the ordinary in the Chicago town; in fact, their fellow inmates are too serving time for the “unintentional” murders they may or may not have committed. In order to distinguish themselves from the rest, Velma and Roxie must rival against one another and concoct extreme tales to grasp the media’s attention; this they do through song, dance, and the rare, but present, pun. The comedic platform principals the far-fetched lies that are relayed, especially the pregnancy faked by a very desperate Roxie. It is through the help of the charming and witty Mama (Natasha Williams) and the sly, money-hungry lawyer Billy Flynn (Eddie George) that the ladies are able to be acquitted and join forces to begin a joint vaudeville show.
Stylistically, the musicians’ upbeat tempo was the definition of perfection. With a diverse set of instruments that ranged from the piano and violin to the accordion and tambourine, the band appealed to the audience in the varying, jazz-centered tastes. A personal favorite was the “Cell Block Tango”, which paired humor with a pulsed infusion of quick-steps and jazz walks. In it, pianist Scott Caddy, showcased eloquent skill that generated much applause from the crowd, ultimately leading to a dramatic pause right before Roxie’s long-winded monologue. Another hit was “When You’re Good to Mama.” It was an audience-pleaser due to Williams’ overwhelming talent in tone and pitch beautifully wove into the melody set forth by the band. Undoubtedly, she was cast to deliver the impressive standing ovation of the night.
Comparative to the high-stakes performance of the orchestra, the acting, unfortunately did not measure up. A key protagonist, Roxie (portrayed by Paige Davis), was not as much of a convincing actress as anticipated. Her low, sweet voice and stiff demeanor did not make for the pretentious character with a name as “rockin’” as “Roxie.” In fact, the costume she wore well emulated the acting style she portrayed- an overly-simplistic black romper with a hip-length suit top. Just as an addition of lace and “pizzazz” may have aided her performance, had she become a bit more vocal in her acting and a lot more dominative in her dancing, she would have very well surpassed the monotonous persona she put forth. Due to her rigid actions, the story became a bit hard to follow, in the especially key moments. It did not seem that Davis’ character yearned to be the vaudeville sensation that did her alter ego.
The dancers’ performance was indeed extraordinarily commendable and added much volume to the plot of the performance. The single use of props (large peacock feathers) made it more than easy to focus all of one’s attention on the dancers. The choreography by Ann Reinking was more than appropriate for the jazz-themed ensembles. In fact, had it been a silent performance, it would have still generated as much prestige. The dancers were the ones who essentially told the story through the bodily gestures pronounce before the public. The turns, swing steps, of both the dancers when coupled or in individual stances, was absolutely compelling. Their moves perfectly addressed the time period in which the performance is set and added moreto the dynamics of the characters.
Apart from the simple costumes and stage setup, Chicago was strictly a performance of music. I would not suggest that first-time theatre goers attend this show immediately, but rather, settle in with a valued performance of Broadway before delving into a more reserved type of play. However, if one is able to overlook these factor and make music one’s pure priority, then the Chicago band can indefinitely satisfy that desire. I recommend the show for its finesse and classic quality; but if you’re paying the sticker price, I would wait for a new Roxie to fill in the shoes and make it worth your while.
