Broadway Beyond Louisville Review: CHICAGO THE MUSICAL IN CONCERT presented by Cincinnati Pops at Cincinnati Music Hall

Photo by JP Leong

The musical Chicago is a staple in the musical theatre canon. The 90s concert revival has been playing on Broadway for over 27 years, and it shows no signs of stopping. With a 2002 film adaptation that was critically and commercially loved, Chicago has cemented itself as a part of popular culture.

With its wide appeal and exposure, it’s really difficult to keep the show feeling fresh. At its core, it’s always been an exquisite showcase of Bob Fosse choreography, with a story about glamorized violence surrounding it. Seeing the show performed concert style - music stands at the ready- by the fabulous Cincinnati Pops Orchestra was a breath of fresh air I didn’t know I needed. While Fosse’s choreography is a crucial component, we often forget just what a fantastic score and story the show has as well. By removing 98% of the choreography and presenting just the story and music as the focal point, it made me fall in love with the show in a new way.

The cast was made up of Broadway favorites, all playing their main roles while doubling as others and the “ensemble” throughout. Tari Kelly as Velma got the show off to a rousing start with an exciting and boisterous rendition of “All That Jazz”.  Throughout the show she brought a lot of broader comedy to the role that we rarely see, and it worked very well for the character and the story. She is matched by the fabulous Dylis Croman as Roxie. Croman is no stranger to the role (having played it off and on for many years on Broadway and across the country), and every move and choice she made was perfectly calculated and phenomenal as only a tried and true performer in this role could be. Croman’s first act solo “Roxie” was a treat in particular as she stunned with her fantastic vocals and her zany comedic chops.

The cast was rounded out by Tony nominee Emily Skinner as Mama Morton, Lewis Cleale as Billy Flynn, and Matthew Deming as Amos Heart and Mary Sunshine. Skinner makes a huge impression and brings down the house with audience favorite “When You’re Good to Mama” and in the later half of the show has wonderful comedic chemistry with Kelly’s Velma in the intentionally heavy handed lament to society, “Class”.  Cleale’s Billy Flynn does a fantastic job with what could be the least interesting role, however he finds great moments to shine, in particularly “We Both Reached for the Gun” when he’s in fantastic voice and plays off Croman’s Roxie brilliantly. Deming pulls off quite the feat playing the pitying reporter Mary Sunshine while not playing the pitiful Amos Hart. His Mary Sunshine is vocally phenomenal and cheeky, while his Amos has a lovely Ernest nature that makes you feel bad for this guy who got caught up in the mess of it all.

The symphony was in fine form with Rob Fisher conducting, and as someone who’s been there, even on Broadway the score has never sounded this good. As I stated before, it was very fresh to focus on the story of the show, but I’d be remiss of if I didn’t say I did miss the full staging of Hot Honey Rag (which Croman and Kelly could’ve masterfully performed I have no doubt). By the end of the performance I found myself giddy with joy. I truly hope the Cincinnati Pops continues its symphonic concerts of musicals, between this and 2023’s “Ragtime”, they’re on a roll.

CHICAGO THE MUSICAL IN CONCERT

Ran 1/12/24 - 1/14/24

Cincinnati Music Hall

1241 Elm St, Cincinnati, OH 45202

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