Buenos Aires' Teatro Lola Membrives houses one of the most powerful pieces of musical plays: CHICAGO. It is a musical with lots of history behind, and in Buenos Aires is being staged for the third time. The following is a review of the current Broadway production.Judging by the performance of “Chicago” I recently attended, it's easy to see why it's lasted so long. Six years is a milestone for a show that at first blush seems so dramatically hollow. But with this one, it's really all about style, and stylistically, this is a gorgeous living tribute to Broadway style master Bob Fosse, with a tremendous assist from composers John Kander and Freb Ebb.
It continues to be a lean and mean production; there’s nothing windy about this “Chicago.” In the leads now are Charlotte D'Amboise as the murderess Roxie Hart, and her jailmate Velma Kelly, played by a scintillating Caroline O'Connor.
Another revelation in this cast is movie star Billy Zane as the suave mercenary lawyer Billy Flynn. Besides being dreamy to look at, he has all the requisite chops for Broadway. Making his New York debut, Zane’s crooning and confident acting is on par with any polished veteran.
D'Amboise plays up the hometown girl in Roxie, lowering the temperature a bit on a role that others have turned red-hot. But she brings a kind of giddy, free-spirit to the part that is utterly charming. Her extended solo turn that seemed entirely improvised was sensational.
Caroline O'Connor is slinky and sexy and loaded with attitude. With her smashing singing voice and fat-free body, she is one very impressive package.
Of course much of the credit for keeping the show in such fine shape goes to Director Walter Bobbie and Ann Reinking, credited with choreography in the style of Bob Fosse. In this faithful recreation they manage to enhance Fosse's dazzling work, never to detract.
“Chicago” is a show that can take some serious tampering, and part of the brilliance of the creative team is knowing just how far they can alter the original concept without losing its essence.
Roxie's husband Amos was played six years ago by the very trim song and dance legend Joel Grey. Now, the role is filled out by the physically opposite Rob Bartlett, and the results are equally satisfying even though Bartlett neither sings nor dances.
And as the prison matron Mama Morton, there's the booming voiced, ample-bodied Roz Ryan, who adds a wonderful new dimension to the part, created by the great character actress Marcia Lewis.
But the true keepers of the Fosse flame are the dancing ensemble. These mostly unheralded triple threats are always onstage, and it seems never short of vitality or style.
Six years usually spells the geriatric ward for a Broadway show, but whether it's the showbiz equivalent of Viagra or tremendous quality control, "Chicago" continues to hold up beautifully.
The trailer to the original London Production
