BWW Reviews: Re-launched Tour of CHICAGO Puts Show Back on Track

A few days ago, the Broadway revival of Chicago celebrated its 17th anniversary. It is the longest running American musical in Broadway history, but in past years the legacy of the show has been marred by bad stunt casting. In hopes of boosting ticket sales, the show has featured several celebrities, including Usher, Melanie Griffith, Brooke Shields, Billy Ray Cyrus, Jerry Springer, Christie Brinkley, AshLee Simpson, and Wendy Williams. Ironically, the brilliant satire about our love of pseudo-celebrities resorts to capitalizing on our love of pseudo-celebrities.

Thankfully, the national tour, which re-launched in August, doesn't stoop to such levels. It sells tickets the old fashioned way by assembling an incredible cast of Broadway veterans and pros who know how to sell a song and can perform Fosse inspired choreography with a sleek, stylish flair.

It's remarkable that casting directors haven't figured out, until now it seems, how integral strong casting is to the success of this show. While Chicago features one of John Kander and Fred Ebb's best scores and a deliciously devious plot about two murderesses who become celebrities after their crimes, the revival production's minimalist design can be a blessing or a curse. If the show is burdened with a bland cast, any flaws are magnified since there isn't much else to look at. Gratefully, with the current company, the simple, black sets and costumes force the audience's attention to the performers and Ann Reinking's dazzling choreography.

The disgustingly good looking ensemble features some of the most talented triple threats you're bound to see in a touring production or on a Broadway stage. They perform the choreography with perfect unison, down to each iconic finger snap and wrist flick, nail John Kander's jazzy score, and are riotously funny when given cameo roles. Terra C. MacLeod is perfectly cast as Velma Kelly, a role that won Bebe Neuwirth a Tony and won Catherine Zeta-Jones an Oscar. She sings with a Neuwirth-esque purr, dances with incredible control and technique, and gives Velma a sneering, cynical attitude. As Roxie, Anne Horak shines as well. Like MacLeod, she's a seasoned pro in the dance department, but the real fun is seeing her develop her character from a naïve adulterous housewife to a fame-hungry diva. Carol Woods, who originated the role of Mamma Morton in the revival's first tour in 1997, is back in the role here, and she's phenomenal as she belts out "When You're Good to Mamma." Todd Buonopane is excellent as Roxie's faithful and often ignored husband. And as Billy Flynn, Roxie and Velma's hot-shot lawyer, John O'Hurley is magnificent. With his long television career, particularly his memorable recurring role on "Seinfeld," O'Hurley is the closest the tour gets to the aforementioned stunt casting, but he's a stage veteran as well with a crystal clear voice and a gift when it comes to comedy.

Over its 17 year history, the revival production of Chicago has had its share of ups and downs, but if the current tour is any indication, the show's back on an upswing. If you've been unfortunate enough to see a lesser cast of Chicago in the past, you owe it to yourself to catch the current tour.

Running time: 2 hours and 30 minutes, including one 15 minute intermission.

Top Photo: Anne Horak as Roxie Hart with Ensemble. Photo by Jeremy Daniel.

Bottom Photo: Terra C. MacLeod as Velma Kelley with Ensemble. Photo by Paul Kolnik.

CHICAGO plays the Bass Concert Hall at 2350 Robert Dedman Drive, Austin, 78712 now thru Sunday, November 24th. Performances are Wednesday - Saturday at 8pm and Sunday at 7pm with matinees on Saturday at 2pm and Sunday at 1pm. Tickets are $35-$95. For tickets and information, please visit http://austin.broadway.com

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