BWW Reviews: CHICAGO: THE MUSICAL Offers Bit of Razzle Dazzle at the National Theatre

This week, the national touring production of the long-running Broadway musical Chicago - with all of the murder, mayhem, and pizazz we all know - returns yet again to DC's historic National Theatre. Even if you've seen the tour the other times it has come through our fair city, the current engagement is worth the return visit for two primary reasons.

First and foremost, Robert Billig's onstage, full complement orchestra exquisitely plays John Kander's catchy music as orchestrated by Ralph Burns with as much energy as technical proficiency (special shout out to lead trumpeter David Detwiler on "All that Jazz.") Like the current Broadway production - now the second longest running Broadway show in history - the national tour is based on the City Center Encores! staging. Although costumes are employed (William Ivey long's sleek, black creations are a mix of elegance and edge, befitting the overall tone of the show), and there is minimal, but effective scenic design (John Lee Beatty) and lighting (Ken Billington), the focus is largely on Kander's music and Fred Ebb's biting lyrics. A strong orchestra - ideally complemented by strong singers, which is more or less the case here - is a crucial element to make the overall concept deeply satisfying for audiences. Billig and his team of musicians more than deliver in this regard.

Second, a committed and - dare I say - quite flawless ensemble delivers equally strong vocals and dance moves in the style of Bob Fosse (Ann Reinking's choreography in the Fosse style is recreated for the tour by David Bushman). Ever note and move is crisp and serves a well-defined purpose. Additionally, there's no perception that any of them are walking through the show as sometimes can unfortunately be the case with long-running national tours. Standout moments come in the form of "Cell Block Tango" - Ebb's clever lyrics are brilliantly interpreted by Terra C. MacLeod (Velma) and the other inmates at the Chicago jail (Robin Masela, Sherisse Springer, Laura Oldham, Aurore Joly, and Allison Blair McDowell) awaiting trial for murder of their significant others - and "Razzle Dazzle." The latter is a showcase for the strong male/female dancer-singers in the ensemble, and is led by the charismatic and quite vocally proficient John O'Hurley as the sleazy, but effective lawyer Billy Flynn.

Beyond O'Hurley, other members of the principal cast also make an impression. Roz Ryan's "When You're Good to Mama" is certainly well practiced (her Playbill bio indicates that she's played more performances than any other leading actress that's done the show). Here, she provides evidence of why she's long been a "go-to" for the loving, but practical and savvy prison matron, Mama Morton. Her powerhouse vocals fill the theatre and ooze charisma. C. Newcomer, as Mary Sunshine, gives a lovely rendition of "A Little Bit of Good," and as Mary's true identity is revealed in Act Two, he achieves the requisite laughs. Likewise, Jacob Keith Watson is endearing as the misunderstood, neglected, and not so bright Amos. "Mister Cellophane" - as it should - makes the audience feel for his plight.

Besides Roz Ryan, the national tour also leverages two other leading actresses that have played the show for a number of performances whether on Broadway or beyond. As Roxie, Bianca Marroquín offers a nice mix of desperation and charm. True, her stylized vocals certainly weren't a highlight for me personally and she unfortunately didn't have that "can't take your eyes off of her" kind of stage presence in numbers "Funny Honey" and "Me and My Baby." Yet, overall the performance, though lackluster, reinforced the idea that Roxie is a not so extraordinary woman that's desperate for attention and is trying to make the most of her fleeting moments of fame. MacLeod, as Velma, offered a performance that grew on me more as the night progressed. Her strongest moment comes in the form "When Velma Takes the Stand" where the singing, acting, and dancing come together in a quite a cohesive and appreciable way. While she certainly proves she's a strong dancer and has considerable singing and acting skills, her performance - like Marroquín's - felt a bit tired.

Cast quibbles aside, Chicago is one of those musicals that offer a book (Fred Ebb and Bob Fosse, based on Maurine Dallas Watkins' play) that, even in its condensed form, can still pack a punch after multiple viewings and its examination of the darker elements of society and what attracts us to them is still very much relevant. John Kander's music is some of the best that has been written for the Broadway stage. The cast and creative team involved in this production, including David Hyslop (Director), largely respect the material and offer a reason to take another look at a familiar show.

Running Time: 2 hours and 25 minutes, including an intermission.

"Chicago: The Musical" plays at the National Theatre - 1321 Pennsylvania Avenue, NW in Washington, DC - through February 15. Consult the National Theatre website for ticket information.

Photo: John Hurley and the Ladies in "Chicago" (Courtesy of National Theatre)

To post a comment, you must register and login.