Chicago Gives Dallas the Ol' Razzle Dazzle at Winspear Opera House

The national tour of the long-running Broadway musical Chicago is playing at the Winspear Opera House. The show is ubiquitous, known and loved by even the most passive musical theater fans. Most theater nerds have already seen it, but the production currently playing in Dallas warrants a repeat viewing.

The show is a dark comedy that follows two rival murderesses plotting to get out of jail and, more importantly, get famous. It’s widely acclaimed for its use of vaudeville performance styles to highlight the absurdity of sensationalized court cases.

Even if you don’t know all of that, you probably still know some of its signature songs, such as “All That Jazz” and “Cell Block Tango,” written by the great songwriting team of John Kander and Fred Ebb (Cabaret, Kiss of the Spider Woman).

Chicago premiered in 1975, but the current Broadway production (which was duplicated for this tour) has been running since 1996. It’s the longest-running revival in Broadway history and a favorite of tourists, thanks to the public’s familiarity with the 2002 film adaptation and the show’s proclivity for stunt-casting celebrities in its lead roles.

The film is probably the best starting point for talking about the stage show, just because it's most familiar to audiences. It won the Academy Award for Best Picture with a star-studded cast that included Renee Zellweger, Catherine Zeta-Jones, Queen Latifah and Richard Gere.

The film is widely considered to be a great adaptation, and both in the theater and in line for concessions, we heard people talking about it, wondering if the stage show would be different.

The answer is both yes and no. The plots of both versions are nearly identical, with several scenes being recreated line by line. However, the tone of the stage production is undeniably different thanks to its minimalist approach.

Whereas the film gave audiences “the ol’ razzle dazzle” with elaborate musical numbers, the live show has a stripped-down set (the primary piece being onstage seating for the orchestra) and a cast in near-identical, all-black costumes.

This is how the show is traditionally staged, and these choices make it popular among community theaters, colleges and really chill and artsy high schools.
Don’t mistake the simplicity for a lack of spectacle, though. True to the style of original director Bob Fosse, the choreography is the centerpiece of the show. The dynamic dance sequences move the story forward, help define the personalities of the characters and bring about a full range of emotions, including laughter (“The Cell Block Tango”), anxiety (“The Hungarian Rope Trick”) and a standing ovation (“The Hot Honey Rag,” which uses Fosse’s original choreography).

There’s so much to take in with these sequences, and the show benefits from not distracting its audience with flashy sets and costumes.

The audience’s familiarity with Chicago’s characters likely created high expectations for the cast. Luckily, all principal performers delivered on those expectations while still making the characters their own.

Katie Friedan takes a zany and exaggerated approach to the role of Roxie Hart. She’s hilarious and an excellent dancer, which are the two main qualifications to take on the role. She’s a great singer as well, but that’s a bonus when you’re playing Roxie. As the multiple Real Housewives who have been cast in the role on Broadway have demonstrated, “untalented” is a valid interpretation of the character.

Kailin Brown is making their touring debut in the role of Velma Kelly. Unlike Roxie, Velma is a more straightforward character. She’s bitter and petty and that drives most of her actions. Brown’s performance is faithful, but still wildly entertaining. Of the leads, they are the strongest dancer in the show.

Actors in supporting roles shine as well. Connor Sullivan strikes a balance between sleazy and charming as corrupt attorney Billy Flynn. Illeana “Illy” Kirven, who plays Matron “Mama” Morton, stops the show with numbers like “When You’re Good to Mama” and “Class.”

Robert Quiles plays scorned husband Amos Hart and wins the crowd over with his performance of “Mr. Cellophane.” He received the loudest cheers during the curtain call.

Chicago is a classic for a reason. Whether you’re a newcomer or a longtime fan, this production embodies everything people love about it: the music, the artistry, the humor and, of course, "all the jazz."
Chicago is playing at Winspear Opera House through April 6. Tickets can be purchased on the AT&T Performing Arts Center’s website.