By Kimberly Harper
“Chicago,” the dance musical all about how to get away with murder, is in Providence this week, but doesn’t exactly kill it theatrically. The concept is good, but the vocals are thin in this Kander and Ebb romp that takes us back to the Jazz Age in Illinois.
In a nutshell, vaudeville wannabe Roxy Hart has just landed in prison for shooting her lover. It’s an open and shut case, but while in jail she meets star performer Velma Kelly, along with a gaggle of other women who all have really good reasons for doing what they did…or so they think. As she starts to justify herself, she realizes that money can buy you anything – favor from prison Matron Mama Morton, the best lawyer in town, an acquittal – all she has to do is keep her hapless husband Amos on the hook.
But the story line isn’t really why you go to see Chicago. You go for the stellar Bob Fosse choreography – and here this production really delivers. In that regard it’s an incredibly good show. But you also attend for the songs that people like Bebe Neuwirth and Ann Reinking made famous once upon a time, and here’s where things start to fall down. It’s clear that the casting directors traded dance talent for vocals, and that’s unfortunate. Terra C. MacLeod as Velma is a dream to watch during her dance numbers, and she has some great comedic expressions, but she comes up short belting powerful songs such as “All that Jazz” and “Class.” John O’Hurley, a locally grown star who plays Billy Flynn and whose name has been used heavily to market the production, got good reception when he walked on stage, but several songs had to be modified to accommodate his vocal range, and his choreography also somewhat missed the mark. Roz Ryan as Mama Morton has powerful vocals, charisma and a fabulous look, but didn’t consistently deliver the character that the role requires.
On the other side of the coin, Dylis Croman as Roxy Hart is very well suited to her part. She may not be as strong a dancer as MacLeod but she can certainly hold her own, and her acting, physical comedy and strong, clear voice more than make up for any slight shortfalls. Possibly the biggest surprise of the evening was Paul Vogt, who plays Amos. Nothing about this man’s character suggests power or presence – which is as it should be. But in Act 2 he has the vocally tricky number “Mr. Cellophane” to sell, and sell it he does, making him an instant audience favorite. I don’t think you’re supposed to like Amos best when you go to “Chicago,” but there you go.
The set is nonexistent. You’ve got a classic bandstand on stage to accommodate the orchestra and conductor, and chairs line either side of the stage to seat actors when they aren’t required for a scene. At times the conductor – Rob Bowman – interacts with the characters in a humorous way, which works well – certainly better than the random one-man jury team during the show’s trial which felt far too farcical. There are no costume changes to speak of, very little “theater magic,” – and that works really well, especially when the well choreographed dance numbers demand all of your focus.
Overall, the concept of this tour is good, the ensemble is very strong, and it makes for an entertaining evening out. But it’s not the best thing PPAC has offered this season, or the strongest production of “Chicago” that you could take in. If you’re a fan of the show, you’ll likely enjoy it, but if you’re tepid on the concept, this probably isn’t the production to sell you on its virtues. With so much great theater in this state, it’s hard to call this one a must see.
“Chicago” runs through May 7 at the Providence Performing Arts Center, 220 Weybosset St., Providence. Tickets may be obtained at the box office, online at www.ppacri.org or by calling (401) 421-2787.
