by KAREN EPSTEIN
Daily Editorial Board
Chicago, which debuted at the Richard Rodgers over 20 years ago, is straight out of the cynical '70s with its depiction of American corruption, crime, and greed. The story of a murder trial turned media circus, however, is ironic in light of today's all-too-frequent courtroom escapades.
The musical, originally directed and choreographed by Fosse, is now under the direction of Walter Bobbie and choreography of Ann Reinking "in the style of Fosse." The show lacks the fancy staging of other current Broadway shows, having been developed from the highly successful New York City Center's Encores! Great American Musicals in Concert last May. It certainly doesn't lack anything, though, in its effect on the audience.
The show boasts many stars of both stage and screen. In addition to choreographing the musical, Reinking reprises her role of Roxie Hart, a woman facing the death penalty for killing her lover. Reinking replaced Gwen Verdon in this role in the original production. It is the choreography and dancing of Reinking, who is stunning in her role as Roxie, that truly makes this show a success. Her choreography makes the most of a talented crop of chorus members. Whether they are sensuously draping their bodies over chairs or humorously singing into the floodlights in the wonderful courtroom scene "Razzle Dazzle," it is hard to take your eyes away from these marvelous dancers.
Bebe Neuwirth (Lilith on Cheers and Lola in the Broadway production of Damn Yankees) is also sensational as another corrupt character awaiting her day in court. Though her dancing pales somewhat in comparison to Reinking, Neuwirth helps to capture the audience right from the start when she leads the entire company in the musical number "All That Jazz." This number is the audience's first taste of the crisp, staccato movements that are essential to the Fosse style.
Joel Grey (Cabaret) has a featured role in this revival as Amos, Roxie's pitifully ignored husband. Grey is adorable in this role; he's a little less vibrant than in his Cabaret days, but still gives a great performance.
In his big number, "Mr Cellophane," Grey sings about how he is perpetually ignored as people "walk right by" him. Poor Amos, used to receiving no attention whatsoever, even whimpers to the audience at the end of the song, "Hope I didn't take up too much of your time."
It's interesting that Grey is a part of this production, as anyone who is familiar with Cabaret, a musical set in Nazi-era Germany, will recognize the similarities between the two. Many of the dance numbers are reminiscent of the dark scenes in the Kit Kat Klub of Cabaret, which Fosse also choreographed.
The lawyer who pulls out every trick in his bag to get Roxie out of jail, Billy Flynn, is played by James Naughton, a star of several Broadway musicals. Naughton brings vibrance to the cynical, Johnny Cochran-esque part.
Another actor who must be noted is David Sabella who, in drag, is comical as the goody-goody newspaper columnist, Mary Sunshine.
The musical concludes with a slick vaudeville-style routine by Reinking and Neuwirth. This dance number, "Hot Honey Rag," sticks to Fosse's original choreography and is definitely one of the highlights of the show.
Chicago is the show to see this holiday season for anyone who plans to be in New York. No longer overshadowed by A Chorus Line, theatre-goers are finally getting a chance to enjoy this gem of the American musical theatre.