Chicago

Reviewed by Holly Bartges

The only unfortunate aspect of Denver Attractions smash-hit Chicago playing at the Buell Theatre this week, is that it is only playing this week. Tickets will be difficult to come by. Persistence and determination could well be the pay off ticket. Creative organization demands attention.

Gregory Harrison and cast of Chicago Photo: Stephanie Pfriender Stylander

With Gregory Harrison sliding into the shoes of the oily, sleek stage bound lawyer Billy Flynn; Bianca Marroquin as the sex starved, wannabe dancer Roxie Hart, and Brenda Braxton as the egocentric once upon a time Vaudeville star, and a magnificent disciplined talented awesome cast demonstrate why this astonishing musical won six Tony Awards.

Chicago has already made its mark, and this production once more proves why.

Under the Musical Direction of Vincent Fanuele, the orchestra takes the jazz music to new heights.

The entire cast was born to recreate Bob Fosse’s awesome identifiable choreography.

Chicago is a wedding of talent, creativity, hot, steamy jazz, lyrics that dig down deep, go someplace, entertain and say something all at the same time. Chicago is a wedding of social mores; an upside down twisted flamboyant lawyer system that blatantly shouts the court room is a stage for the most ostentatious flashy, colorful lawyer to win no matter what.

Billy Flynn characterizes what the media hands to us over and over. Harrison knows how to color Flynn inside and outside the lines.

Many of this particular cast have played out their roles on Broadway. It shows in their expertise, precision, artistic ability, absorption in their roles, and it all translates into a smile, fun, and major big time thrill.

Marroquin not only created her Roxie role with a Broadway debut, but also played her in the Mexico City production. Harrison tap-danced his way into Flynn’s heart on Broadway. Carol Woods gives Matron “Mama” Morton snide calculating humor revealing she knows what side of her bread is buttered.

Strong voices, precision sensual sexy Fosse dancing, startling arresting lighting designed by Ken Billington this production of Chicago strikes a resounding chord.

Through vaudevillian style gigantic numbers, the ego contest between Roxie and Velma, Mama and her girls, and sharp shooting, hip swinging, smooth Flynn play out as though their life depends upon it, and it does. Not because of murder. Because of stardom, Justice and innocence have nothing to do with any of the issues. It all has to do with who can do what to whom and stay at the top as a star.

With ingrained and mocking beloved musical numbers as “All That Jazz,” “Cell Block Tango,” “Roxie,” and the dazzling “Razzle Dazzle,” Chicago flies over the top. Each number a showstopper in it own right.

As Amos, “Mr. Cellophane,” himself, Ray Bokhour took the not so bright, one light bulb short in a classy chandelier to task in the Broadway production. For a character misnamed (Flynn calls him Andy), who can neither be seen nor heard, he certainly knows how to flirt with stopping a show in its tracks.

This production of Chicago brightens the lights on Broadway. This production of Chicago is what musical theatre is all about. This production re-sets the bar of expectation and excellence. To get tickets may mean playing out one’s own adaptation of Billy Flynn. Go for it. Fosse did. Look what happened.