| Chicago Review by: William K. Gale Chicago is a tough musical about a tough town, and it lets you know that right away. Things have barely begun before a guy is plugged. By his girlfriend, of course. A couple of minutes later, he rises from the grave and six merry jailhouse gals take off on the Cell Block Tango, where they tell you about the guys they shot up and why the bums deserved it. Directed by the Tony Award-winning Walter Bobbie, with hip-popping choreography a la Bob Fosse (Cabaret, All That Jazz) by Ann Reinking, Chicago is a tough, cynical, gritty musical. Taken from a 1926 yarn by a Cook County, Ill., police reporter named Maureen Watkins, Chicago looks in on Velma and Roxie and a lineup of other females who found that there was simply nothing to do but fill their boyfriends with lead. Now, even in Cook County that will get you in trouble, and the ladies end up in a 1920s-type jail where the matron makes phone calls for a price, and a slick legal eagle will get you off -- and maybe make you a celebrity -- for an even higher price. First done in 1975, this re-imagined 1990s Chicago is all about cynicism. It says that you can have a heart of gold, just make sure you get the money first. But this production seems, at least at this early stage, to want to be more likable than that As Velma and Roxie, Roxane Carrasco and Tracy Shayne have big stilettos to fill, as anyone who saw Bebe Neuwirth and Reinking on Broadway will know. And while the two are not at that level, they have many talents. Carrasco is a powerful mover, and Shayne gets much of the edge that's needed. This production has a chorus loaded with talent and with the needed tough look. The Cell Block Tango is great. The veteran Roz Ryan is just perfect as the blues-belting matron; she makes you love her and gets across the gritty aspect of Chicago , too . Michael Tucci does a nice job as the poor schnook of a husband to Roxie and Dante Sciarra, he of many fine performances at Theatre-by-the-Sea, is a laugh as a goofy member of the jury. |