BWW Reviews: Bayou City Theatrics' CHICAGO Is Gritty and Dazzling

CHICAGO is a bawdy, saucy musical that tells the story of a bored housewife, Roxie Hart (Derrien Kellum), who has shot and killed her lover during a heated spat. With the help of her devoted and hapless husband, Amos (Brian Chambers), Roxie obtains the smarmiest, most powerful lawyer in town, Billy Flynn (Kyle Ezer). Roxie quickly gets the idea to use her criminal status as a means to obtain stardom. Competing for the spotlight with the convicted Vaudeville star, Velma Kelly (Danica Dawn Johnston), Roxie's thirst for attention provides a backdrop for all things crooked and manipulated in Chicago's justice system.

This production is backed with energy and style by a talented cast of women who play the cell block girls. Jessica Rohe, Michelle Mayo, Erica Bundy, Ashley Carfine, Misty Chambers, and Tori Shoemaker are appropriately slinky and sassy as the women locked up for the murders of their men. These actors sound very good together and handle the choreography like pros.

Danica Dawn Johnston holds her own as the fiery Velma Kelly. Johnston is a talented dancer with a strong voice, and she is committed to her character, exhibiting focus and energy in her acting skills. Her "I Can't Do It Alone" is a high-spirited, impressive piece of showmanship.

Luke Hamilton is a complete success, both as a performer and choreographer of the show. A gifted dancer, Hamilton has stage presence in spades, and he has a very expressive face that draws the audience to him. His tap number in the first act is joyful and adept, adding a shine to the production. All of the choreography is inspired and stays true to the mood and style of the show.

Heather Hall is inspired as Matron "Mama" Morton. Hall's performance is especially enjoyable in the duet "Class", with her rich, resonant voice and excellent comedic timing.

Billy Flynn is expertly played by Kyle Ezer. Ezer has great acting chops and an easiness about him onstage. "All I Care About is Love" and "Razzle Dazzle" are two of the strongest numbers in the show, and Ezer's voice is pleasant and dependable. He is one of the few actors that can be heard throughout the show.

Brian Chambers is well-cast as the down-trodden, simple Amos. His funny walk and apologetic countenance make for a convincing portrayal. "Mr. Cellophane" is well-executed, though Chambers could go a little deeper with the emotional aspect of the song.

Christian Quiroga, Fong Chau, and the previously mentioned Luke Hamilton do a great job as Velma and Roxie's "boys", supporting the ladies with adept dancing and vocal skills.

Derrien Kellum is adorable and funny as the attention-hungry Roxy Hart. She is a natural at the Fosse-inspired choreography, with all of it's body-consciousness and sass. "Roxie" is one of the highlights of the show, with Derrien nailing the monologue and dancing. Unfortunately, she is the hardest person to hear onstage, especially in "Funny Honey", which she sings from the far back of the stage.

Yes, sound was a big problem. Unless actors were blocked at the front of the stage, volume was swallowed up by the long sides of the space. The shape of the stage isn't condusive to good acoustics; all the more reason to have microphones. I was in the third row and had difficulty hearing several lines and singing. After speaking with audience members sitting farther away I learned that some couldn't hear the actors at all.

The set is very interesting; sort of mix between tawdry and creepy with a little "dirty tenement" thrown in for good measure. The unusual shape of the stage is a challenge in some aspects of the show, but the set design is right on pitch and enjoyable to look at. As set designer, Colton Berry captures the grittiness of Vaudeville with perfection. The fog machine effects were a nice touch, but the fog got a little out of hand in ""Nowadays/Hot Honey Rag" and Danica Dawn Johnston could not be seen until she came downstage.

Jane Volke leads her musicians with verve and exactness. The orchestra sounds top-notch throughout the show.

Colton Berry's makeup design is perfection; the women wear eyelashes that go for days and the dark eyeshadow and porcelain face makeup channel the 1920's in all it's iconic glory. The hairstyles, on the other hand, are hit and miss; Velma's blonde pixie cut evokes Pink circa 2014, not a woman of the roaring 20's. Roxie's deconstructed bob also suggests a more current time.

Director Colton Berry has created a production of CHICAGO that is earthy and edgy, with many dazzling moments. Without giving anything away, let me say that Berry has many unexpected talents that he brings to the show. His performance is truly impressive, on every level.

For tickets to CHICAGO, go to: http://bayoucitytheatrics.co

Photo Credit: Courtesy of Bayou City Theatrics

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