Chicago

Chicago" the movie was based on Chicago, the Broadway musical created by Bob Fosse. Chicago the road show is a re-creation of the original musical, in which Roxie Hart and Velma Kelly separately dispose of problems in there lives, through murder. Billy Flynn, a glib lawyer, defends both. What goes on between murders and trials is the grist of Chicago, which has fun music though proves short on plot.

Chicago is owned by the electric Bianca Marroquin as Roxie Hart. From a subtle look or turn of her head to redefining the term frenetic in her dance moves, she captivates the audience every moment. It has been a long time since I have seen so much energy, convincing us that Roxie Hart is all she claims: emotional murderer, wronged woman, duplicitous actress, delightful dancer, and lyrical singer. Marroquin is a true triple-threat, with excellence in all departments.

Reva Rice, as Velma Kelly, is low-key compared to Marroquin. The contrast works, but she still could have brought more vitality to her role. Rice makes a good first impression in the opening number, "All That Jazz" (always an audience favorite). Patrick Swayze, as sleazy lawyer Billy Flynn, while not quite phoning in his performance, does not bring the dynamics to his role that one would expect.

R. Bean, as reporter Mary Sunshine, delights, with a commanding voice. Her song, "A Little Bit of Good," is laced with overtones of operatic training. Her reveal in the second act also amuses.

Ray Bokhour's may be underplaying Amos Hart, but his solo, "Mister Cellophane," charms. Carol Woods plays prison matron "Mama" Morton. "When You're Good to Mama" is the highlight of her performance.

The chorus and dance troupe are outstanding. Gary Chryst's choreography, based on Bob Fosse and Ann Reinking's original work, tries the skills of the troupe; and they easily surmount the complex routines. John Lee Beatty's scenic design brings the orchestra on stage in a steep boxed-in riser dominating the stage, which is also used for entrances and exits as well as a playing area. Interestingly, the conductor is a minor supporting character.

Costume designer William Ivey Long didn't waste any material on the females' costumes. Many of the men are bare-chested or adorned with net shirts. Billy's solo, "All I Care About," is embellished with chorines replete with huge feathered fans.

Chicago is fun, a musical romp integrating everyone in the cast in a fast-paced production. The first act runs almost 90 minutes but feels like. No pretense that this is anything but an amusement, as asides are made to both the audience and the conductor (one of the funniest being a call for "exit music" as a character leaves the stage). Most amusing is Amos's exit when, unnoticed as always, he leaves without fanfare.