By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)
Chicago –the longest running show now on Broadway and the second longest running show in history – made its way to the Saenger Theater in New Orleans a week ago to thunderous ovations and to the enjoyment of many who had never seen this fabled musical previously.
At the end of the show in the song “Nowadays” composer John Kander and lyricist Fred Ebb whimsically joked “in 50 years or so, it’s gonna change, you know but, oh, it’s heaven nowadays.” They were referring to the original play “Chicago” by Maurine Dallas Watkins as well as silent film that inspired the book for the original cast in 1975.
As Velma Kelly (Taylor Lane) and Roxie Hart (Ellie Roddy) remark about the rampant sex, booze and hot music that marked the era of the Roaring Twenties in which the show is set, both Kander and Ebb are giving notice that really not that much will change in 50 years.
And now it’s 50 years later than that and…well, you get the picture.
Originally directed by the legendary Bob Fosse and starring Chita Rivera, Gwen Verdon and Jerry Orbach, the musical was dwarfed by the blockbuster A Chorus Line, which ran away with all the honors at the Tony Awards that year. The show did respectable business, but given the score and cast, closed far earlier than one might have believed.
It took 21 more years for it to bow again on Broadway, shepherded by lead producers Fran and Barry Weissler, who believed in the production and allowed Fosse’s mentee and former girlfriend Ann Reinking to choreograph and star in the revival that was billed “in the style of Bob Fosse.”
The production that played the Saenger Theater is based on the successful City Center Encores! production and has been touring for the past three years as part of a 25th anniversary tribute.
Both Lane and Roddy are in superb voice and in fantastic form, dancing to the late Reinking’s choreography with a tip of the hat to Fosse and modeled by Gregory Butler, who is now in charge of the choreography for Chicago at the Ambassador Theatre in New York.
Connor Sullivan does an excellent job channeling the sleazy defense attorney Billy Flynn. He absolutely shines in his two major numbers “Razzle Dazzle” and “All I Care About.” He also deliberately underplays the duet with Roddy in “We Both Reached for the Gun” to great effect.
Illeana “Illy” Kirven is a terrific, engaging Matron “Mama” Morton. Her solo in “When You’re Good to Mama” is about as good as it gets. She’s got some pipes, that’s for sure. But even in a more quiet, reflective duet with Lane in “Class,” she shines.
Josh England substituted for Andrew Metzger as the sad sack husband of Roxie, Amos Hart. Cast in his first national tour, he does a good job with his big number “Cellophane.” Also turning in a spectacular performance is D. Fillinger as reporter Mary Sunshine.
The minimal sets by John Lee Beatty allow the audience to concentrate on the singing and dancing, which is as it should be. The costumes designed by William Ivey Long continue to thrill audiences including the ensemble members.
When it gets down to basics, Chicago has truly wonderful songs by Kander and Ebb and the book by Fosse and Ebb is clever, even allowing for the ensemble members to occasionally comment on the leading actors. The opening number of “All That Jazz” perfectly captures the spirit of the period of Prohibition in which everything goes.
Other notable numbers include the murderous mistresses in “CellBlock Tango,” and numbers with the leading actors “When Velma Takes the Stand” with Taylor and “Roxie” with Roddy.
The national tour of Chicago continues on the road.
