BWW Reviews: CHICAGO at the Arundel Barn Playhouse is 'All That Jazz'

"They'll love you a lot more if you hang. You know why? Because they'll sell more papers". When Bob Fosse, John Kander and Fred Ebb presented their jazz-aged masterpiece for the first time in 1975, I doubt they could foresee millions of people tuning in for highlights on the George Zimmerman trial on every major network. Nor could Maurine Dallas Watkins have any way of knowing that her play (CHICAGO is based on it) would be so topical for years to come, after writing it in 1926. But, nearly 90 years later, with trials on every channel and our justice system often in upheaval, it seems to be more relevant than ever. And the Arundel Barn Playhouse's production of CHICAGO proves just why it has endured.

Like so many musicals before and after it, the populous is most familiar with the recent movie adaptation. Though a fantastic movie, and probably one of the better movie adaptations of a musical, the original is VERY different from the silver screen treatment. It is a love letter to the golden age of vaudeville; Bob Fosse (who created a style of dance that is still imitated and praised), John Kander and Fred Ebb constructed a musical that, though it tells a story, tells it in the style of a cabaret act. The original (again, not to be confused with the 1997 revival that is nearing 20 years on Broadway) is a bare bones production, using minimal set and often little dialogue to illustrate it's story. It follows the lives of the "Merry Murderesses of the Cook County Jail" in Chicago. Velma Kelly (Monet Julia Sabel) is on "murderess row" awaiting trail under the watchful eye of Matron Mama Morton (Deidra Grace Chiverton). With a slew of other ladies in the same boat, Roxie Hart (Andrea Wright) joins the group after her killing her lover, and attempting to get her sweet, unassuming husband Amos (Zack Steele) to cop to the murder. Roxie (and Velma) employs the arguing talents of Billy Flynn (Mark Edwards) to help her get acquitted, and through his media-mastering and fact spinning, gets the help of sympathetic reporter Mary Sunshine (G. Parmley) to tell Roxie's story to the press.

Like their musical CABARET before it, it is often hard to tell (the brilliance of each piece) when Kander and Ebb are using their book to comment on the songs, or vice versa. CHICAGO IS, however, an enduring biting commentary on the United State's judicial system and how the press and theatrics often take a back seat to truth and justice. Sound familiar, Casey Anthony?

Monet Julia Sabel as Velma is a brassy and bold jail-bird, who through the course of the show becomes more and more vulnerable. Ms. Sabel does a wonderful job at illustrating that, and her clear-as-day vocals move effortlessly through the song's more famous songs "All That Jazz", "I Can't Do It Alone" and "Class". There were times, though, when I longed for a little more venom and harshness in her portrayal of Velma. Some of her choices came across as a bit forced, but thankfully her movement and solid vocals more than make up for it.

Andrea Wright's Roxie is equally naïve, cold and vindictive in her portrayal of a young woman thrust into jail and the spotlight. Her movement in the Fosse style is something to behold, and her voice breezes with pizzazz through "Funny Honey", "Roxie" and "Nowadays". Ms. Wright clearly illustrates the dichotomy of Roxie's fear of being incarcerated and her lust for fame and fortune.

Deidra Grace Chiverton as Matron Mama Morton has the big, sassy voice you expect from the role, and then some. She cruises through "When You're Good To Mama", and especially "Class", her duet with Velma. Her handling of Mama's authoritative yet caring mother-figure status is right on target. She leaves the audience wishing Mama had another powerful number to close out the show.

I tip my hat to the talented ensemble for taking on not only Bob Fosse's complex and specific choreography, but also their many incarnations of characters. Special mention goes to Matt Dornemann (look for him as the Jury in Roxie's trial) but especially Phylicia Freeman; her fluidity of movement through out the show will grab your eye, hold it, and leave you wishing she was dancing front and center in every scene. Also, her "bailiff" in Roxie's trial will give you much more than a chuckle.

No offense to the ladies, but there are three gentlemen who shine particularly bright in this production. Mark Edwards' Billy Flynn is a charming yet swarthy ambulance chaser, and he plays it with near perfection. He's loveable, yet cunning. Exactly what the role requires, and he also adds his mastery of comedic timing and fantastic baritone to the insincere "All I Care About is Love" and "Razzle Dazzle". So convincing is portrayal, you'll start to wonder if perhaps you could employ him if you are ever in need of representation.

The "oh, are you still there? I thought you'd gone" character of Amos is handled with more than capable hands by Zack Steele. Audible "awwws" can be heard from the audience as he brings "Mr. Cellophane" to a close; he is the underdog who never wins the big game, and you are along with him for every moment. So sympathetic is Mr. Steele's performance, you like him more and more and Roxie less and less because of her constant dismissal of him.

Gavin Parmley is a sight to behold as Mary Sunshine. The role is often listed with the actors' first initial and last name as to preserve the "surprise" that Mary is in fact a HE. It didn't seem to make much of a difference, as the audience seemed in complete awe as they realized his true identity. His soaring falsetto will leave you in disbelief of your senses, as will his overall convincing portrayal of the media mogul. Not to be left out is Elliot Lane in a slew of ensemble roles, but most noticeably as the Announcer and framing Velma and Roxie. He is perhaps the strongest male dancer on stage, and moves through the Fosse-esque choreography with ease.

Overall, the performers in CHICAGO are quite strong. Unfortunately, they have a few things working against them in this production. The costumes for "All That Jazz" are neither flattering, nor period appropriate; the revival places the musical in a contemporary setting, yet the original Broadway and THIS production place it in the actual time period of the show. Thus, the opening costumes, particularly on the women were not of that world, and weren't doing the dancers any favors.

The set works extremely well 90% of the time. It is in that 90 percentile that it is minimal, bare and easily changed from one locale to the next. Where it doesn't work is placing cumbersome jail bars in the hands of the murderesses when something more in the world of the show, or perhaps a lighting effect would have helped them more. Similarly, there is a bed unit that doesn't work all that well. The crew is not quite hidden when operating the unit, and it's only used for 2 scenes; though I'm sure the bed seems integral to both scenes, utilizing the stage and wing space for this purpose would have behooved the creative team.

Now comes a touchy subject: Dewayne Michael Barrett's choreography. First and foremost, as I stated before, Bob Fosse invented a new style of movement. His choreography is often imitated. Thus, when his choreography is used either in its entirety, or at the very least in major pieces, he MUST be credited. Often this is accomplished by merely saying "In the style of Bob Fosse". The current multi-Tony Award winning revival of Pippin even does this. "Choreography by Chet Walker IN THE STYLE of Bob Fosse". Moreover, there is a portion of choreography in the Cell Block Tango that is lifted DIRECTLY from the movie, with no mention of the original choreography. This, in the theatre and direction/choreography world amounts to plagiarism. It is frowned upon, and CANNOT be presented as one's own. In the same vain, it is the director/choreographer's job to play off the strengths of the cast he/she has. Bob Fosse's movements seem small and "easy", but in reality they are extremely complex and hard to master; it takes some dancers many years of intense training to fully understand it. Unfortunately, too often the dancers in this CHICAGO are given elements of dance that they are not able to perform. It's not their fault; it is the director's job to showcase the story and their talents in the best way possible. NOT, to make what they have planned for movement and direction work with whoever is plugged in to a given role.

This last passage aside, CHICAGO at the Arundel Barn Playhouse is a great evening of entertainment, and should not be missed. Kander and Ebb's musical is one that should be seen aside from the silver screen, and you will not be disappointed if you take the scenic drive to Arundel to see these talented performers. Please visit www.arundelbarnplayhouse.com for tickets and more information.

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