The Chicago Tour Stops in Seattle

By now, just about everyone has seen some form of Kander and Ebb's razzle-dazzle musical Chicago. With a successful revival and an even more successful film, the 1975 musical that lost all its Tony Awards to a little show called A Chorus Line is now a worldwide phenomenon. Currently touring the country (and fresh off a stop in Dubai of all places), I am happy to report that Chicago is in fine shape. Though the Rob Marshall screen treatment is quite good, nothing can touch seeing the acclaimed revival live.

Set in the late 20's, Chicago follows the rise and fall (and semi-rise again) of merry murderesses Roxie Hart and Velma Kelly. Played like a classic vaudeville, this slinky masterpiece captures the greed, exploitation, and fame-seeking-hunger that have become staples of America. The joyous Kander and Ebb score includes some of their best tunes. They are able to create show-stopping numbers that still advance the action. Ebb and Bob Fosse's book includes a palpable sense of empathy despite the general repulsiveness of the characters' actions. We are able to delight in the seediness of it all.

Ann Reinking's choreography brilliantly echoes the distinct style of Fosse. Reinking is able to use her many years as Fosse's muse to full advantage. She never denies Fosse's crucial contribution to the success of Chicago. Unlike Wayne Cilento's lazy Sweet Charity and David Armstrong's peculiar Pippin (closing this week in Seattle), Reinking is able to maintain originality while paying tribute to the greatest choreographer in musical theatre history. Fosse's ability to bridge the non-musical moments with movement remains unrivaled. Even with some abbreviated steps (re-created here by Gary Chryst), this tour dances from start to finish.

Just about every great modern dancer (and D-list star) has graced the current revival on Broadway, on tour, or abroad. These complex characters are open to many interpretations, and allow performers to put their own stamp on things. Some superb casting choices require many repeat visits. Though the current tour features only 1 semi-recognizable name (more on that later), it holds two of the best Chicago performances to date.

As foxy Roxie Hart, Michelle DeJean is an amazing triple treat. Her greatest asset is a brassy, classic voice that effortlessly filled the gigantic Paramount. Her reading of "Funny Honey" hit all the right notes: dead-pan, sultry, and malicious. DeJean's big pipes are one of musical theatre's best kept secrets. Dejean also happens to be quite a magnificent dancer. Her "Me and My Baby" is pure joy. Lastly, she brings precise acting skills to the table. Her central song, "Roxie", is a wonderful, funny, and touching delight. She uses the many improvisational opportunities to full advantage without sacrificing the integrity of the material. DeJean captures Roxie's desperate struggle for attention. Her layered performance is perfect from top to bottom. Michelle DeJean is a big star in the making.

DeJean has a great partner is Terra C. MacLeod's devilish Velma Kelly. MacLeod slinks across the stage throughout with a joyful wickedness. Her Velma is a desperate creature in search of stardom and approval. While MacLeod's Broadway Velma was a whirling dervish, her work here is much more focused and clear. She is a sexy dancing machine with a strong, affecting voice. Her pleading "I Can't Do it Alone" is a highlight. She leads the talented ensemble in a rousing "All That Jazz". DeJean and MacLeod play wonderfully off of each other. They are a perfect pair. It is quite clear that both are having a wonderful time. Their "My Own Best Friend" makes for a thrilling close to Act I.

The superb leading ladies don't always receive the support needed from the remaining cast. Greg Evigan (the one instance of Weissler stunt casting to be found) brings zero star power to sleazy lawyer Billy Flynn. Evigan's years on television are blaringly obvious in his hollow, boring, unenergetic performance. He also has next to zero singing ability. His long note at the end of "They Both Reached for the Gun" is quite painful. While the producers of Chicago have given us a superb product, their continuous placement of forgotten film/TV/music stars in crucial roles remains baffling. Kevin Carolan is also problematic as Roxie's jilted husband Amos. Though the character is constantly described as forgettable, Carolan takes this idea to the extreme with his lazy treatment. His "Mister Cellophane" never packs the punch it should. R. Bean has taken too many liberties in his portrayal of gossip maven Mary Sunshine, and often seems desperate for laughs. The only bright spot of the main supporting cast is theatre legend Carol Wood's sassy Matron "Mama" Morton. Her powerfully sung "When You're Good to Mama" stopped the show. The talented dancing ensemble is top notch. They provide are a tight unit, and provide all the sexiness needed.

Lighting Designer Ken Billington's ability to make Chicago play like film noir is a central gift of the revival. William Ivey Long's slinky costumes and John Lee Beatty's minimal set are equally impressive. With two memorable divas, great dancing, and that gigantic score, this Chicago is in great shape. Bob Fosse would surely be proud of much of the work to be found in the joyous national tour.

For more information on Seattle's Paramount Theatre, visit www.theparamount.com. For info about the Chicago tour, visit www.chicagothemusical.com.

Top: Michelle DeJean as Roxie Hart

Bottom: Terra C. MacLeod as Velma Kelly

Photos by Paul Kolnik

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