Musical Forum's production of Kander & Ebb's "Chicago," directed by Farra Ungar '06, is an odd combination of talent, effort and sincerity with unsuccessful interpretations and artistic choices.
"Chicago" follows the career trajectory of Roxie Hart (Caitlin Mehner '06), a vaudeville performer of average talent who, after murdering her paramour, aspires to achieve the fame of her idol-turned-rival Velma Kelly (Emily Borromeo '09). Velma is also imprisoned and awaiting trial for murder. Aided by the prison's self-serving Matron Mama Morton (Weldon Ledbetter '06) and slickly overconfident attorney Billy Flynn (Ellis Rochelson '09), Roxie and Velma vie for the most infamous coverage from Chicago's sensationalist press corps and attempt to orchestrate the other's demise.
Borromeo's Velma opens the show with the sensual, iconic number "All That Jazz," sliding smoothly into the role. Borromeo conveys her character's cynicism with just enough sympathy to draw in the audience without making Velma quite likable. Borromeo's downfall, however, is her tendency to revert to physical humor. Also, her interpretation of Velma contains hints of naiveté and earnestness that have little place on murderers' row of Cook County Jail.
As Roxie Hart, Mehner regularly projects a fake and annoying persona, yet because her character is defined by falsity, scheming and self-righteousness, that technique succeeds in many places. And while at times Mehner seems far too self-satisfied, again, that just is Roxie. It is hard to tell whether Mehner intended such an effect, but regardless, it works.
Ledbetter plays a great hate-to-love Mama Morton. The mistress of the jailhouse is believably amoral, self-satisfied and prone to smirking. And while Ledbetter appears far too flirty in her portrayal of Morton - a character teasingly called "Butch" - the dissonance hardly hampers her performance. Rochelson as Billy Flynn proves more than passable, though unremarkable, as were the dual Masters of Ceremonies, played by Douglas Benedicto '08 and Samantha Ressler '09. The simpering, pushover reporter Mary Sunshine is brought to life by the bold-voiced Betsy Wilson '08 with a chipper humor that keeps viewers smiling.
Will DeWitt '06 captures audience members' hearts with his too-smiley but wonderfully sympathetic performance as Roxie's husband, Amos - perhaps the show's only real "good guy." By the end of his solo "Mr. Cellophane" - Amos' lament about a lifetime of being ignored - the entire house released a collective sigh of pity on his behalf. The ensemble cast members are clearly having fun, which translates into audience enjoyment.
"We Both Reached for the Gun" and "Cell Block Tango" stand out particularly among the group musical numbers. The cast's eager transformation between cameo roles, engagement of the audience (including sitting among them in seats marked "Reserved for Press") and overall energy make these numbers sizzle. Particularly noteworthy are a tap dance by Camela Logan '07 and the portrayal of a "not guilty" Hungarian inmate by Rachel Caris '08.
Unfortunately, the same cannot be said for certain choices made by the creative team behind "Chicago." Though the orchestra's soaring performance, conducted by Almaz Dessie '07, is one of the best aspects of the show, its placement practically in the midst of the action makes the music sound so loud that the actors are often inaudible. Similarly, the two-level stage provides for many solid theatrical moments, but the actors' clambering up and down the side ladder while singing becomes distracting, and the height difference between the floor and upper levels is too great to easily watch simultaneous action.
The costumes, designed by Maggie Mustard '07, look too much like thrift store castoffs to be believable. Rochelson in particular is swimming in his suit jacket, and the slip dresses that Borromeo and Mehner don fail to imitate vaudeville costumes. Most egregious, however, is the mostly sleepy choreography by John McCutcheon '06, which lacks the energy and sensuality that are inherent qualities to the musical's dances.
On the upside, the crisscrossing of metal bars, designed by Alana Jacoby '08 and built by Allison Grubbs '09 and Austin Blonde '09, that dominate the scenery prove a spectacular set piece every time the cast begins climbing on, around and through them, as happens in "Cell Block Tango" and "Razzle Dazzle." The bars can be distracting when not in use, but their effectiveness in dance numbers far outweighs this inconvenience. Perhaps the most impressive technical element, however, is the lighting design by Todd Lipcon '07. The lighting requires twice the usual number of cues but features a series of flashing bulbs that line the stage and stairs, colorful and mobile spotlights and a sense of being in a sketchy, smoke-filled cabaret.
Overall, "Chicago" is a fast-paced and enjoyable production but an unessential addition to the fall semester's theater lineup.
"Chicago" runs tonight at 8 p.m. in the downstairs space of Production Workshop.
