Sinners Shine in Chicago

Connect2Mason Director Grace Kendall

It’s not every day you get to celebrate cold-blooded murder with over-the-top song and dance numbers. From the first juicy blare of the trumpet at the start of “All That Jazz,” you can tell you’re in for a musical full of color and sleaze.

Satirical and cynical, Chicago is the story of Roxie Hart (Charlotte d’Amboise), a 1920s woman who murdered her lover (“He was trying to walk out on me!”) and is now doing everything she can to manipulate the media and the courts to avoid being hanged.

The Broadway show known for its celebration of “scintillating sinners” does not disappoint. Those who only know Chicago by the 2002 movie are missing out on the lighthearted comedy that makes the stage production so successful. With a simple set (a few ladders and chairs) and a monochromatic color scheme, Chicago really lets the music and dancing speak for itself. And with a book by Fred Ebb and Bob Fosse and music by John Kander, that’s a good thing.

The current cast is full of charm and wit, and they make subjects like greed and adultery seem like one big laugh. d’Amboise charmed as the shallow murderess Roxie Hart, though her comedic chops were stronger than her voice for most of the show. Her prison rival Velma Kelly was played by the talented Terra MacLeod, whose deadpan delivery and soaring vocals brought her vixen of a character to life.

John O’Hurley (best known as J. Peterman on Seinfeld) was a delight as the smarmy Billy Flynn, a lawyer with his own best interests at heart.

But as good as the main cast was, it was the supporting performers that really made the show strong. Carol Woods’ portrayal of Matron “Mama” Morton was amazing, and her booming voice and precise delivery in “When You’re Good to Mama” made it one of the best performances of the night.

D. Micciche as reporter Mary Sunshine was appropriately over-the-top, and Kevin Chamberlain shone as Amos Hart with “Mister Cellophane,” a bright spot in a slightly lacking second act.

There are plenty of showstoppers, too: the black comedic “Cell Block Tango,” the vaudeville mind-game of “We Both Reached for the Gun” and the confetti-filled circus number “Razzle Dazzle” all rise to the occasion spectacularly.

There’s a casual arrogance that’s an understood joke throughout the musical; characters flounce off-stage demanding exit music and often break the fourth wall to chat up the audience. The choreography is full of Bob Fosse’s trademark flavor, overflowing with splayed fingers and rolled shoulders.

Fun from start to finish, Chicago is a good musical to drag non-theater fans to; between the skimpy lace costumes, the dark satire and the constantly gyrating dancers, there’s something to appease most musical haters.

The show only faltered occasionally; sometimes, lead vocals were lost to the group effort and a few of the large-group dance numbers were slightly out of synch. For the most part, though, the performances were strong and the show was full of laugh-out-loud moments and fiery energy until the curtain dropped.

When the night ends, you’ll surely leave the theatre singing: “Oh, I love my life! And all that jazz.”

Chicago will be at The National Theatre until April 12. Ticket prices range from $46.50 to $91.50.