The Bushnell, Hartford, CT
through October 28, 2012
By Walt Haggerty
“A story of murder, greed, corruption, violence,
exploitation, adultery, and treachery…” It’s all there in all its sizzling, red
hot glory, in the touring production of Kander and Ebb’s paean to the evils of
the Jazz age, and the audience loved it.
The original production opened in 1975, the same year as “A
Chorus Line.” “Chicago” received good notices and achieved a long run, but
“Chorus Line” received the bulk of attention and the awards. In 1996, New
York’s City Center Encores presented “Chicago” in concert, and, as the saying
goes, “the rest is history!” That same year the show was given a full Broadway
treatment and deserved awards. Today it is the longest running American musical
in history.
The production at the Bushnell is a worthy reincarnation of
its Broadway twin, with the incredible “in the style of Bob Fosse” choreography
created by Ann Reinking, this time reproduced by Gary Chryst. Scott Faris is
credited with recreating Walter Bobbie’s New York direction. High praise is due
all.
Star billing is given to Christie Brinkly and she delivers a
convincing “Roxie” portrayal with humor and style. Amra-Faye Wright’s “Velma”
never misses a beat in a knock-their-socks-off series of show-stoppers,
starting with “All That Jazz.” And they just keep getting better.
Kecia Lewis-Evans single-handedly scores a grand slam with
“Matron’ Mama’ Morton” with an over-the-top delivery of “When You’re Good to
Mama,” and, together with Wright, the duo squeeze every ounce of sardonic humor
out of “Class.”
John O’Hurley brings his own brand of “Razzle Dazzle” to
Billy Flynn, with great looks, charm, a voice to match, and a winning
performance. Ron Orbach’s “Amos,” the forgotten husband, is right on target
with “Mr. Cellophane,” and D. Micciche’s “Mary Sunshine” is a gem.
“Chicago” is an inventive masterpiece of theatre. For a
thrilling evening of theatre “Chicago” deserves another viewing.
