Roxie Rocks 'Chicago' in Baltimore

If you've ever used a copier when the toner is starting to go, you know that parts of the page copy crystal clear, while other parts are paler imitations of the original.  The same could be said about the tour of the revival of Chicago, which opened last night at Baltimore's Hippodrome for a one-week stay.  This revival has been much in the news for its revolving door of stars (the tour is no exception), and most recently for its 10 year anniversary on Broadway.  And fans of the film still flock to see the show as well.  While there will likely be arguments pro and con about the show vs the movie (I like both - the stage version is theatrical in ways a movie can't be, and vice versa), what you see onstage is what you get.  Having recently seen the Broadway version (including two of the stars of the Baltimore production) I was excited to see it here all over again, as the Broadway version is as sharp, tight, and alive as if it were opening night all over again.  I'm sad to say that the tour has not stood up as well.

First of all, the music, played by an onstage band, and conducted by Vincent Fanuele, sounds mighty thin.  Odd to complain that the music isn't loud enough when the Hippodrome usually hosts shows where the music is so over-amped.  It sounded throughout the evening as if the piano was not amplified at all.  In fact, during the opening number, "All That Jazz", it was virtually absent, thus making the "piano's hot" line laughable.  The larger problem with the musicians, though, was not so much the volume, but rather the lack of pep behind their playing.  And to some extent, this lack of enthusiasm was mirrored in the cast.  When the cast members were enthusiastic, the music picked up; when they were, well, boring, so was the music.  The overall effect is one of "getting through" the show, not really performing it.

One of the "celebrities" in this cast is Tony-winner Melba Moore as Matron Mama Morton.  Last night may have been an off night for her, but Ms. Moore was, to be kind, lack-luster.  Her delivery of "When You're Good to Mama" was neither witty nor commanding, and not even a teeny bit provocative.  Did she choose to ignore the double entendres of the masterful lyrics?  Her other number, "Class" fared a little better, as the whole show seemed to pick up steam as they rallied toward the end.  Only once, did she even show a hint of her considerable (and one assumes this is why she was hired) talents was when she riffed a bit at the end of "Mama."  Otherwise, she looked bored, or worse, in over her head. 

Terra C. MacLeod, playing Velma, was an enigma to me.  She has all the right moves, hits all of her light cues, and is a decent dancer.  If it were a silent film, I'd be using words like "brilliant."  Alas, there was sound, and it wasn't pretty.  Her accent, though no fault of hers, gets in the way of comprehension on many occasions - I thought I knew the words to "All That Jazz" and I couldn't even follow her.  Add to that the fact that her volume (loud-soft) is out of control even within one line of a song, she delivers each syllable with a clinched jaw, and her phrasing causes lines to be rushed and elongated other places.  None of this adds to character.  A Velma that should be seen and not heard is way out of place in this show.

R. Bean, as Mary Sunshine, must have studied musical performance at the same place as Ms. MacLeod.  Her big number, "A Little Bit of Good" was so rushed (it seemed to be so that she could hit high notes and not have to hold them or something) it was virtually incomprehensible. "Trill ta-trill ta-trill screech goooood!"  I'm not joking.

Fortunately, there is still much to be said in the plus column for the touring company.  Ron Orbach, as Mr. Cellophane himself, Amos, is both charming and wonderfully sad.  You'd have to have a heart of stone not to feel for this guy.  His rendition of "Mr. Cellophane" deservedly nearly brings the house down, and he is surprisingly funny in the court room scene when he comes in to reenact "what really happened" to poor Roxie. (That whole scene shows how great this company COULD have been.)

There is a movie version of this story called "Roxie Hart".  The touring production, with the star-quality performance of Michelle DeJean, should be called that as well.  Ms. DeJean gives a completely winning, original performance of the cute chorine gone bad.  She has you in the palm of her hand the minutes she giggles, "I gotta pee!" and tears off stage.  She sings with a gorgeous voice, full of character, and her nervous ticks, gasps and squeals add nuance and flavor when everything else around her is bland as oatmeal.  She is also the best female dancer on that stage.  The seven or eight minutes of "Roxie" are seven or eight minutes of musical theatre ecstasy.  The love for her from the audience was palpable as she earned extended applause.  And her entire performance during the act two court room scenes through to the finale was a magnificent balance between comic genius and dramatic tension.  You almost feel sorry for her at the end.  Ms. DeJean, it seems, is still channeling the Broadway level of excitement (she left the Broadway Company just last Saturday).  Nowhere is that more evident than with her performance with co-star (on Bway and here) Christopher McDonald during "We Both Reached for the Gun."

Mr. McDonald (un-credited in the Playbill) is Billy Flynn, smooth operator supreme.  He is a star of the first order, commanding every scene he is in, and the perfect match for the equally scene-stealing Michelle DeJean.  He is one of those actors that you have seen everywhere, but don't know his name, probably.  (Hardly a surprise - he has over 70 films to his credit!)  His "All I Care About" is equal parts charm and slime - one feels slightly dirty after the song is through.  And his rendition of "Razzle-Dazzle" does just what the title implies.  Again, though, it is when he shares the stage with Roxie that the whole show threatens to explode with exciting entertainment value.

Perhaps the biggest constant of this production is the choreography, by Ann Reinking in the style of her mentor Bob Fosse (here recreated painstakingly by Gary Chryst).  It still amazes with its precision, smoldering sexuality, and downright theatricality.  The corps of dancers is quite good here, especially the "boys" who slither, smoke and scintillate.  Kevin Neal McCready as Fred Casely, and David Bushman, featured in both dance specialties, are spectacular dancers, assuring that the Fosse tradition will live for another generation - Fosse would be so proud.  The ladies of the ensemble are also good, but lack the same level of spark.  The Cell Block Tango, led by MacLeod, was decidedly underwhelming, though Jessica Perrizo, a fantastic dancer, is also chilling as the "not guilty" Hunyak.

If you haven't seen the stage version, and a trip to New York is out of the question, this Chicago is worth seeing.  True you won't get the dueling divas of other companies, but Michelle DeJean alone is worth the price of admission. 

PHOTOS: TOP to BOTTOM: Michelle DeJean as Roxie Hart; Roxie and Her Boys (Michelle DeJean, center); The Boys of Chicago; The Ladies of Chicago.  Photos courtesy of Chicago: The Musical.

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