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Supporting
cast sizzles in
raunchy ‘Chicago’Chicago: 8 p.m. Tuesdays-Saturdays; 2 p.m. Saturdays and Sundays; and 7:30 p.m. Sundays, through Oct. 29, at Blaisdell Concert Hall. Tickets: $25-$65. Information: 591-2211.
By John Berger He's only a supporting player who portrays the least glamorous character in the show, but judging from audience applause, Stewart Brown stole the show as "Chicago" opened Tuesday in the Blaisdell Concert Hall. Brown plays hapless Amos Hart, the only honest character in this cynical, dark and timeless comedy about the moral bankruptcy of modern America.
Special to the Star-BulletinYes, "Chicago" was created in the '70s by John Kander, Fred Ebb and Bob Fosse as the musical version of a play written in the '20s, but the show's themes and character types are as relevant as they were 30 or 70 years ago. It's that relevance as much as the catchy Kander and Ebb tunes and the broad comic characterizations that helped make "Chicago" a hit when it was revived in 1997 and recreated with choreography "in the style of Bob Fosse."
Brown's big solo, "Mister Cellophane," was a poignant showstopper. Brown brought the same crowd-pleasing presence to his subsequent appearances on stage.
Alex Rotella (Billy Flynn) was another opening night hit with his portrayal of the cynical criminal defense attorney who prides himself on being willing to defend anyone, as long as they can pay his fee. Flynn explains guilt or innocence is irrelevant to the criminal justice system. It's all about manipulating the media and dazzling juries. (Flynn cultivates the media's desire for headlines and human interest while allocating time to clients according to their financial resources and celebrity value.)
Rotella brings leading man charisma to each line and every number. His two song-and-dance numbers, the disingenuous "All I Care About" and the shrewdly cynical "Razzle Dazzle," are beautifully done in all respects.
Maureen Veronica Illmensee ("Mama" Morton) adds another fine supporting performance as the matron who runs the women's section of the Cook County jail. The matron's sexual orientation is suggested through innuendo and her character comes through beautifully in Illmensee's burlesque-style rendition of "When You're Good to Mama." Illmensee also does a fine job opposite Heather Parcells (Velma Kelly) in the poignant but brutally sardonic "Class."
Parcells and Tonya Wathen (as Roxie Hart) share star billing as two publicity hungry murderesses who become fierce cell block rivals as they battle to convert their notoriety into tabloid celebrity, win acquittal on all charges, and launch a career in show business.
Parcells and Wathen are strong dancers, but Parcells' dark and passionate Velma becomes the more vivid and dynamic character of the two.
Masail Elizalde (Mary Sunshine) and Grant Turner (Fred Casley) add small but effective supporting performances. Tracy Degenfelder, Jennifer Amy Lewis, Stephanie Mead, Vanessa Van Vrancken and Dana Winkle share credit with Parcells in making "Cell Block Tango" the hottest and most sexually charged musical number.
"Chicago" is staged as a fast-moving musical revue with a burlesque house ambience, contemporary costumes of black fabric and bare skin, and choreography that reference the Berlin cabarets of the '20s.
Given the high visibility of "Chicago" over the past 25 years it's hard to believe anyone would go not knowing about the show's content, but a few in the opening night audience said they found it too raunchy.
OK, "Chicago" isn't "Sesame Street," but this dark and sardonic show snaps, crackles and sizzles with energy. It's a show worth seeing twice.
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