Review: CHICAGO at Mainstage Irving-Las Colinas

Although many guests at the opening night of MainStage Irving-Las Colinas' sparkling production of CHICAGO commented that they've only ever seen the musical's famous (and fantastic) movie, the minimalist stage version has razzle-dazzled audiences for nearly twenty years, making it the longest-running revival in Broadway history. While the show offers hardly more than a dozen scantily clad dancers, a bandstand, and a handful of feathers, the magic originally created by John Kander, Fred Ebb and Bob Fosse still manages to shine, even in community theatres across the country.

CHICAGO is the exciting (and somewhat factual) story of Illinois vaudeville performer Velma Kelley, who killed her husband and scene-partner-sister after catching them doing their own act in the bedroom. She meets wannabe-star Roxie Hart in the Cook County jail after Roxie fails to convince her husband Amos to take the heat for murdering her lover, Fred Casely. The two ladies compete for the attention of their lawyer, Billy Flynn, until the next murderess steals their headline. For both, fame is more rewarding than freedom and they're willing to fight their own way to the top.

If you've seen the show in New York or on tour, you're sure to recognize the iconic Fosse-inspired choreography (created for the Broadway revival by Ann Reinking) on the Irving stage. Using much of Reinking's and director Walter Bobbie's original staging, Dallas luminaries B.J. Cleveland (director) and Kelly McCain (choreographer) have assembled an adept young cast to conquer the iconic undertaking. The pair, in tandem with Mark Mullino (musical director), Dane Tuttle (scenic design), Kyle Harris (lighting) and Costumes by Dusty, leaves a lasting impression on the crowd with a perfect balance of 1920's jazz and modern sass. And, in spite of the inherently low-budget style of the revival version, the local design team hasn't let that hold them back, filling the stage with color, quality, excitement...and all that jazz.

Leading the CHICAGO cast are Liz J. Millea and Rachel Reininger as merry murderesses Velma Kelly and Roxie Hart, respectively. The pair, whose definite height difference offers an interesting dynamic, confidently carries the show on their backs, headlining twelve of the nineteen production numbers between the two of them. With Ms. Reininger's technical skills outweighing those of Ms. Millea, it is sometimes a challenge to believe that Roxie was unable to achieve the level of stardom that Velma acquired prior to their meeting in jail, but it certainly enhances the moments when Roxie takes the spotlight, particularly in "We Both Reached For The Gun" and "Roxie." Ms. Millea is an able singer and dancer in her own right, but her movement occasionally lacks focus, and therefore so does her character. She fares better in comedic moments, most notably when she duets with the hilarious, scene-stealing Matron "Mama" Morton (Brynne A. Huffman) in "Class."

Gregory Hullet as the slick lawyer Billy Flynn and Michael P. Rausch as Roxie's pathetic husband, Amos Hart, join the ladies on stage. With his sadly sweet ballad "Mr. Cellophane," Rausch is a highlight of the second act. His subtle charm is a perfect balance in the otherwise sexy and dark show, and he effortlessly manages to render Amos' fragile qualities without overacting. While Hullet's Flynn perhaps lacks a bit of charisma, his voice soars through "All I Care About" and "We Both Reached For The Gun." H. Sabin provides an impressive soprano as Mary Sunshine, even if she's quite obviously not yet comfortable in her heels (a forgivable slight for this opening night production).

The striking ensemble enhances the many large-scale production numbers, and tackles multiples supporting characters throughout the two acts. The dance training in the ensemble is evident, particularly with the ladies, but special mention is owed to triple-threat standouts Alexandra Cassens (Mona), Ashley Markgraf (Go-To-Hell Kitty), and Jonah Munroe (Fred Casely). Extra kudos go to Beth Lipton (Hunyak) and Carlos Strudwick (Martin Harrison), who not only shine among the song-and-dance ensemble, but are featured instrumentalists within the top-notch band.

There are a couple of glitches in the production that don't go unnoticed, however. Kelly McCain's new choreography in the overture starts the show with a bit of unnecessary chaos. Fosse's work, including McCain's interpretation, tends to be stylistically understated and this piece just didn't fit with the rest of the choreography. Also, the show occasionally lacks some attention to detail, particularly in the otherwise eye-catching costumes (Roxie is described as wearing a blue lace dress and rhinestone-buckled shoes in court, for example, but they are nowhere to be seen). In addition, LED glowing balls used in Razzle Dazzle feel much more appropriate for 2020 than 1920. These are items that seasoned director Cleveland should have caught, but with the number of quality show's he is frequently involved in, a few small hiccups in an otherwise orderly show can be forgiven.

DFW audiences are (fortunately) cursed with an astounding number of Live Theatres, all with various budgets, resources, and commitment to quality. Although Mainstage Irving-Las Colinas might too-frequently shy away from producing full-scale musicals, the greater moments in CHICAGO prove them to be a driving force in the local community theatre scene. CHICAGO continues through November 19th, and it is certain to only get better throughout the run. Tickets and more information can be found at www.irvingtheatre.org.

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