Chicago

There’s lots of razzlin’ and dazzlin’ going on in Sacramento, as Music Circus closes out its 2013 season with its first-ever production of the Kander & Ebb & Fosse salute to vaudeville, “Chicago.”

The story is based on a 1926 play called “Chicago” by Maurine Dallas Watkins, a journalist who covered the real-life sensational murder trials of the era. Watkins’ story described two women accused of murder, whose defense was that they had been the victim of unscrupulous men.  It’s the sort of thing that Chicago tabloid journal readers ate up. Bob Fosse took the theme and ran with it.

From the moment muscle-bound announcer Aaron Felske sashays onto the stage to so many cat calls and whoops from some of the females in the audience, and the company starts the familiar “All that Jazz,” the sizzle never stops.

Structured like a vaudeville show, acts such as one would see in a real vaudeville show (the ventriloquist, a clown, and some others I’ll save for the surprise), the show hangs on the story of young Roxie Hart (Lindsay Roginski), who murders her lover, manages to get acquitted at her trial, thanks to the help of attorney Billy Flynn (Tom Hewett) and then capitalizes on her 15 minutes of news media fame to build a career for herself on the stage with chanteuse and former prison mate, Velma Kelly (Brenda Braxton). 

Roginski is a luminous Roxie.  Her facial expressions, her beautiful body lines in freezes make it impossible to take your eyes off of her.  You somehow forget that she is a heartless woman who cares only for herself and doesn’t care whom she hurts in her attempt to get to the top.

Hurt most of all is husband Amos (Rick Stoneback), hopelessly in love, willing to believe anything, to forgive anything and yet hurt by Roxie over and over again.  Amos’ song “Cellophane” is always a highlight of this show and was again in this production, though I found it lacked the depth that I have seen in other productions.

Hewett’s Flynn is slippery, sleazy and not very likeable, though he certainly knows how to “Razzle Dazzle” everyone to get the desired outcome for his clients.

Another high point of this show is the ventriloquist sequence, with Flynn the ventriloquist and Roxie the dummy, done well in this production, though not quite as tight and memorable as other productions I have seen recently.

Braxton is a sultry songstress who knows how to belt a tune and is delightful in the “Cell Block Tango,” where each of the “merry murderers of the Cook County Jail” describe how they came to realize that their victims had to die.  “He had it coming / He had it coming / He only had himself to blame / If you'd have been there / If you'd have seen it / You would have done the same.”

Roz Ryan is outstanding as Matron “Mama” Morton, who runs the prison with an iron fist, but treats her favorites with loving attention (“When You’re Good to Mama”)

Choreography for this show is by Randy Slovacek, who gives us credible Fosse-esque dancing without resorting to mimicry.  This is a large show and Music Circus has a small stage, yet somehow you still get the oomph of this Fosse-like choreography.

“Chicago” has an extended run, to August 29, but it was a near sell-out on opening night and one assumes that word of mouth might make tickets more difficult to find. 

This was a perfect show to close out a stellar season.

Chicago

Stop what you’re doing right now and call for tickets to the Davis Musical Theatre Company’s amazing new production of Kander & Ebb’s Tony Award-winning “Chicago.”

This is one of the best DMTC productions I’ve seen in a long time. It’s full of murder, greed, corruption, violence, sex, exploitation, adultery and treachery all glitzed up with so much razzle and dazzle that you’ll be cheering at the end of the first number, and consistently throughout the show.

“Chicago” points the finger at this country’s perennial fascination with bad boys (and girls) and our raising them to near cult status, as we salivate over every gory detail, the more salacious the better. Think Bonnie and Clyde, Al Capone, O.J. Simpson, the Kardashians.

This musical is based on actual events during the 1920s, when reporter Maurine Dallas Watkins reported on the trial of a young woman (Beaulah Annan, “the prettiest murderess”) who killed her boyfriend and then called her husband to tell him, as a popular fox trot record played in the background. As Beaulah sat awaiting trial, she announced that she was pregnant, prompting the headline, “Beaulah Annan Awaits Stork, Murder Trial.”

Years later, William Wellman turned the story into a satirical movie called “Roxie Hart,” starring Ginger Rogers, in which the heroine, to kick-start her show business career, confesses to a Chicago murder. Funny man Phil Silvers played her lawyer.

This movie was the inspiration for choreographer Bob Fosse’s collaboration with Kander and Ebb to produce “Chicago, the Musical,” which opened on Broadway in 1975, with Gwen Verdon and Chita Rivera as the two jailbirds competing for publicity for their respective crimes.

The show closed after a two-year run, unable to compete with “A Chorus Line,” but was brought back again in 1996, under the direction of Walter Bobbie with choreography by Ann Reinking (in the style of Bob Fosse). The revival won six Tony Awards, Drama Critics Circle Awards, Astaire Awards, Olivier Awards, Helpman Awards and a Grammy for best cast recording (among many other accolades).

The 2002 movie, starring Renée Zellweger and Catherine Zeta-Jones, won the Academy Award for best picture.

And now we have it right in our own back yard, with a sparkling production directed by John Ewing, choreographed by Pamela Lourentzos, and featuring a stellar cast — each one as good or better as the last one.

Amber Jean Moore is outstanding as Roxie Hart, a housewife with stars in her eyes, who shoots her lover and then tries to use her crime to launch a show-biz career.

Roxie’s crime steals the headlines from Velma Kelly (Jennie Ribadeneira), a once popular singer/dancer, now also languishing in prison for shooting her multi-married lover. Her exciting “All That Jazz” was the show’s opener and set the tone nicely for the rest of the show.

Tony Ruiz is marvelous as the smooth, charming, yet slick lawyer, Billy Flynn, who knows how to work the press and, for a price, make his clients such sympathetic figures that no jury would convict them. Billy’s “All I Care About,” performed with several chorus girls armed with fans that would do credit to Sally Rand, is a knock-out.

A ventriloquist number, “We Both Reached for the Gun” — with Roxie in Billy’s lap as he literally puts words into her mouth — is outstanding.

Andrea Eve Thorpe is by no means the large matron we associate with previous actresses playing the role of Matron “Mama” Morton, but instead of heft, Thorpe achieves her dominance with strength and a cold, forbidding wardrobe and severe hair style. The effect works well for her.

Amos Hart is Roxie’s all-but-forgotten husband, played beautifully by Dan Masden. There is a lot of heart in this Hart and his “Mr. Cellophane” was very moving, as he describes what it’s like to be invisible to the people in his life.

Jacob Montoya deserves applause for his role as the Master of Ceremonies. When Montoya mixed with dancers Michael Cesar, Elio Gutierrez and Randy Noriega, it was a sight to behold.

The sob sister reporter Mary Sunshine was played to the hilt by D.A. Holmes, whose not-quite-so-surprising secret is revealed during the second act.

The DMTC orchestra, under the direction of Steve Isaacson, is on the stage, instead of under it, for this show on a set designed by John Ewing.

Costumes by Jeanne Henderson are, of course, spectacular.

Co-producer Jan Isaacson says tickets are selling fast. The Saturday evening production we attended was a near capacity audience, so get your tickets soon. Once word of mouth begins to spread, they will be in very short supply.

Chicago

Murder, greed, corruption, violence, exploitation, adultery and treachery have come to Sacramento.

It all takes place across the street from the Capitol, and has nothing to do with the California Legislature.

John Kander and Fred Ebb's Tony Award-winning 'Chicago,' which razzled and dazzled last week's opening night audience, has returned to the Sacramento Community Theater for a limited engagement that concludes Sunday.

'Chicago' points the finger at this country's perennial fascination with bad boys (and girls), and our tendency to raise them to near cult status as we salivate over every gory detail. Think Al Capone, Bonnie and Clyde, O.J. Simpson.

This musical is based on actual events from the 1920s, when journalist Maurine Dallas Watkins reported on the trial of a young woman - Beaulah Annan, 'the prettiest murderess' - who killed her boyfriend and then called her husband to announce this news, while a popular fox trot record played in the background.

Years later, William Wellman turned the story into a satirical 1942 film called 'Roxie Hart,' starring Ginger Rogers, in which the heroine confesses to a Chicago murder in order to kick-start her show business career.

This movie inspired choreographer Bob Fosse's collaboration with Kander and Ebb, and the result was 'Chicago, the Musical,' which opened on Broadway in 1975. Stars Gwen Verdon and Chita Rivera played two jailbirds who competed for publicity for their respective crimes.

It was revived in 1996, directed by Walter Bobbie and with choreography by Ann Reinking (in the style of Bob Fosse). That production won six Tony Awards and many, many other accolades.

The 2003 film adaptation took the Best Picture Academy Award.

The latter honor notwithstanding, this show's appeal can't be captured on film with quite the same energy or excitement. Watching large clumps of people execute complex dance steps - while making it look effortless - is a live stage experience not to be missed.

Bianca Marroquin is outstanding as Roxie Hart, a housewife with stars in her eyes, who shoots her lover and then tries to use her crime to manufacture a show-biz career. Roxie's crime steals the headlines from Velma Kelly (Brenda Braxton), a once popular singer/dancer, who hopes to do the very same thing.

John O'Hurley is marvelous as the smooth and charming Billy Flynn, a slick lawyer who knows how to work the press and - for a price - make his clients such sympathetic figures that no jury would convict them. One of the show's funnier moments is the song, 'We Both Reached for the Gun,' with Billy acting as ventriloquist to Roxie's dummy.

Carol Woods is a strong presence, as Matron 'Mama' Morton, particularly when she sings 'When You're Good to Mama.'

Roxie's long-suffering husband, Amos Hart - a man who loves his wife no matter what - is given an appropriately downtrodden characterization by Tom Riis Farrell. We can't help falling in love with Amos when he sings 'Mr. Cellophane,' and everyone wants to give him a hug.

The play is filled with fabulous ensemble numbers that rely as much on choreography as on lyrics. The 'Cell Block Tango,' where each woman explains how she happened to kill her husband/lover, is marvelous.

Scenic designer John Lee Beatty places the orchestra center stage, with character entrances and exits over, under, around and through the orchestra box. Ken Billington provides the dramatic lighting, and the elegant yet decadent costumes are by William Ivey Long.

'Chicago' will make you clap enthusiastically, and then depart the theater while humming 'All that Jazz.' What more could be asked of an evening's entertainment?

Chicago

Murder, greed, corruption, violence, exploitation, adultery, and treachery have come to Sacramento and it all takes place across the street from the capitol. I’m sure there is a joke in there somewhere.

Razzling and dazzling the opening night audience, John Kander and Fred Ebb’s Tony award winning musical, “Chicago” returned to The Broadway Series at the Sacramento Community Theater for a limited two-week engagement.

“Chicago” points the finger at this country’s perennial fascination with bad boys (and girls) and our raising them to near cult status, as we salivate over every gory detail, the more salacious the better. Think Bonnie and Clyde, Al Capone, O.J. Simpson.

This musical is based on actual events during the 1920s, when reporter Maurine Dallas Watkins reported on the trial of a young woman (Beaulah Annan, “the prettiest murderess”) who killed her boyfriend and then called her husband to tell him, as a popular fox trot record played in the background. As Beaulah sat awaiting trial, she announced that she was pregnant, prompting the headling, “Beaulah Annan Awaits Stork, Murder Trial.”

Years later, William Wellman turned the story into a satirical movie called “Roxie Hart,” starring Ginger Rogers, in which the heroine, to kick-start her show business career, confesses to a Chicago murder. Funny man Phil Silvers played her lawyer.

This movie was the inspiration for choreographer Bob Fosse’s collaboration with Kander and Ebb to produce “Chicago, the Musical,” which opened on Broadway in 1975, with Gwen Verdon and Chita Rivera as the the two jailbirds competing for publicity for their respective crimes. The show closed after a two year run, unable to compete with “A Chorus Line,” but was brought back again in 1996, under the direction of Walter Bobbie with choreography by Ann Reinking (in the style of Bob Fosse) when it won 6 Tony Awards, Drama Critics Circle Awards, Astaire Awards, Olivier Awards, Helpman Awards and a Grammy for best cast recording (among many other accolades). The 2003 movie won the Academy Award for best picture.

The appeal of this show is something that is impossible to capture on film with quite the same energy or excitement. Watching large clumps of people executing complex dance steps and making it look effortless is an experience not to be missed.

As Velma and Roxie, Terra C. MacLeod and Michelle DeJean are superb. In each there are echoes of Verdon and Rivera, and I found myself understanding that Fosse had these two specific women in mind when he originally choreographed this show, the moves seeming to be unique to each character, but specific to the style of dancer.

Greg Evigan is marvelous as the smooth, charming, yet slick lawyer, Billy Flynn, who knows how to work the press and, for a price, make his clients such sympathetic figures that no jury would convict them. Billy’s “All I Care About,” performed with several chorus girls armed with fans that would do credit to Sally Rand, is a knock out.

Carol Woods brings down the house with Matron “Mama” Morton’s “When You’re Good to Mama.” She’s a real powerhouse who received the biggest ovation at the end of the evening.

Roxie’s long-suffering husband, Amos Hart, the man who loves his wife no matter what, was given the appropriate downtrodden characterization by Kevin Carolan, but he has his moment to shine as he sings “Mr. Cellophane,” and shine he does.

There are marvelous ensemble numbers in this piece, which rely as much on choreography as they do on lyrics. The “Cell Block Tango,” where each woman explains how she happened to kill her husband/lover is marvelous, and “We Both Reached for the Gun,” where Billie coaches Roxie in how to give her court testimony are both outstanding.

Scenic design for this show is by John Lee Beatty, who places the orchestra center stage, with character entrances and exits over, under, around and through the orchestra box. Dramatic lighting is provided by Ken Billington and the costumes, elegant yet decadent, are by William Ivey Long.

Chicago is one of those musicals that will have you clapping enthusiastically, and then leaving the theater humming “All that Jazz,” and what more could one want from an evening’s entertainment?