Chicago

Milwaukee theater audiences may recall a stunning local production of Chicago staged a couple of years ago. However, that hasn't prevented patrons from lining up to buy tickets to Chicago's national tour, starring Bianca Marroquin (Roxie Hart), Brenda Braxton (Velma Kelly) and Gregory Harrison (Billy Flynn). No doubt the successful film version has fueled a whole new fervor for this dark and cynical show.

Chicago, a black comedy about a pair of murderesses, is drawn from real-life accounts in Chicago newspapers. Apparently, the sensationalism of these criminal acts in the 1920s rocketed the pair to instant celebrity status. In the musical Chicago, we meet all sorts of seedy characters who attempt to capitalize on the women's celebrity, including: a sleazy lawyer; the pair's cellmates; and even an oversized prison warden named "Mama" Morton. We also meet Roxie's sweet, well-meaning (though nebbishy) husband, Amos.

As seen in past productions, the show's choreography dominates the proceedings. This isn't surprising; given the fact legendary choreographer Bob Fosse originally snatched the material up. Thankfully, the talented ensemble has numerous Broadway credentials to pull it off. From the press materials, it seems as though Bianca Marroquin has made a virtual career out of playing Roxie Hart, the show's main character. She is splendid to watch and even manages to introduce a bit of humor into the show's dark heart. Her wavy red wig (or hair) reminds one of a young Shirley MacLaine. Marroquin is a spitfire with the moxie to make Roxie memorable.

She is well matched by the charisma and strong vocal power of Brenda Braxton, who plays Velma Kelly, another jailbird who also longs for celebrity. As the sleazy lawyer, Gregory Harrison demonstrates impressive onstage "chops." Not only does he seem very comfortable in the role, he is as handsome, slick and suave as his character requires. He also excels at connecting with the show's female characters, creating the necessary love/hate relationships.

Ray Bokhour is noteworthy as Roxie's sad sack husband, Amos. He creates a sympathetic portrait of a simple car mechanic who's clearly in over his head with his wife's newfound celebrity. Carol Woods (as "Mama" Morton) has a natural stage presence, but she comes across more like a high school choir director than a hardened prison warden. Her singing, however, is sensational. The onstage band, minimal sets, lighting and costumes are all of the caliber one would expect from a national tour.