‘Chicago’ Plays Well Even in the Suburbs

What would Bob Fosse have made of the idea that “Chicago,” his 1975 Broadway musical paean to malfeasance of justice, could be revived for a sold-out audience of suburbanites as an entertaining (and, in the right hands, utterly appealing) hommage to the famously cynical, sensual Fosse style?

Fosse used to say he’d rather take a stroll down New York’s 42nd Street than 5th Avenue. For the eight-time Tony Award-winning director-choreographer, who began his performing career at 13 in burlesque halls and cheap nightclubs, the square and the phony were two sides of the same coin and should be left heads-or-tails in the suburbs.

My guess is that Tuesday night’s opening of the hit “Chicago” revival at the Orange County Performing Arts Center in Costa Mesa would have made him blush--with both pleasure and shame.

Pleasure for its virtues, such as Ann Reinking’s satirical knockoff of his razzle-dazzle choreography (ably delivered by a sleek chorus of pelvically advantaged dancers) or Belle Calaway’s long-stemmed, gamin-like performance as Roxie Hart. Shame for its sins, such as a leading man who can’t do a soft-shoe in his big number (Alan Thicke as Billy Flynn), or a major supporting player who misses almost all the humor and most of the poignancy of his role (Michael Tucci as Roxie’s husband, Amos).

On balance, though, the virtues of this touring production outweigh the sins. The musical--which Fosse directed, choreographed and co-wrote with John Kander and Fred Ebb in its original version-- still offers, in its tale of two lovable 1920s killers vying for attention and trying to cash in on their tabloid notoriety, some of the wittiest social commentary in a Broadway musical and sexy dancing.

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Calaway is not as animated as Reinking was on Broadway. But Calaway not only sings and dances well--and with her waif-like looks recalls Gwen Verdon, who originated the role--she shapes the performance dramatically and gives it a coherence lacking in Charlotte D’Amboise’s in the touring version that just closed at the Ahmanson Theatre in Los Angeles. (That production, with D’Amboise, has moved to the Shubert.)

Meanwhile, this production also has the killer virtue of Jasmine Guy as Velma Kelly, Roxie’s rival. The high-gloss, deadpan comedy of Guy’s “dese-and-dose” portrayal, a match even for Bebe Neuwirth’s Tony-winning Velma, retains the silky finish of a precise, beautifully nuanced characterization.

Though comparisons are odious, for a reviewer who has seen all three versions of this savvy, slimmed-down “Chicago,” brilliantly directed by Walter Bobbie, there’s just no way to avoid them. Which production was most enjoyable? Broadway’s--with the Ahmanson’s not far behind. And largely because of Calaway and Guy, the chorus and the splash made by Lea DeLaria in the role of Matron ‘Mama’ Morton, the center’s production gives the Ahmanson’s a run for its money.

Apart from Reinking and Neuwirth, Broadway had James Naughton as its leading man. His sleazy Billy Flynn was slick; Thicke’s portrayal is merely sleazy, and a huge comedown from Brent Barrett’s at the Ahmanson. Without the flash and slickness at the pimpish heart of the sleaze, there’s no ironic tension to the role. Minus the unctuous veneer that both Naughton and Barrett brought to the role, Thicke’s Flynn is blandly vulgar. Added to that, Thicke’s nasal delivery and talentless dancing become doubly irritating.

Broadway also had Joel Grey, whose peerless comic turn as Amos brought out the character’s poignancy. Here, Michael Tucci’s Amos is so routine and by-the-numbers and so lacking in flare that Ron Orbach’s capable Amos at the Ahmanson, still a considerable comedown from Grey’s, looks like the work of a genius.

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In its revue format, with an onstage band and no scenery, “Chicago” benefits from an intimate presentation. This was evident on Broadway and at the Ahmanson, where the size of the venues maintained the production’s theatrical scale. At the 3,000-seat center, however, the show seemed diminished, its impact somewhat muted. I’d hate to have been at the back of the orchestra or in any of the upper tiers.

Some of that problem was reflected in music director Rob Bowman’s conducting. Although the band sounded lively, the musical phrasing seemed to lack the vivid pulse of Ralph Burns’ arrangements. The raucous inflections, so like Kurt Weill’s music at times, were smoothed over and missed (at least by these ears).

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But should you go see “Chicago” at the center? By all means. This show is a great one and as close to tamper-proof as it gets.

Trouble is, it’s sold out. Center officials said the only available tickets, if any, will be returns and no-shows. But as a principal theme of “Chicago” has it, things may not be what they seem. A call to the box office can’t hurt.

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* “Chicago,” Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Performances are today-Friday 8 p.m.; Saturday, 2 and 8 p.m.; Sunday, 2 and 7:30 p.m. Ends Sunday. $21-$52.50. (714) 556-2787. Running time: 2 hours, 20 minutes.

Jasmine Guy: Velma Kelly

Belle Calaway: Roxie Hart

Jeff Shade: Fred Casely

Ron Kellum: Sgt. Fogarty/The Doctor

Michael Tucci: Amos Hart

Alan Thicke: Billy Flynn

Lea DeLaria: Matron “Mama” Morton

R. Bean: Mary Sunshine

Sharon Moore: Liz

Tamara Jenkins: Annie

Donna Marie Asbury: June

Lynne Morrissey: Hunyak

Mary Ann Hermansen: Mona

Angie L. Schworer: Go-to-Hell-Kitty

Gregory Butler: Harry/The Judge

Destan Owens: Aaron

Ken Alan: The Bailiff/Court Clerk

Gary Kilmer: Martin Harrison

Jack Hayes: The Jury

A Pace Theatrical Group and Barry and Fran Weissler production, in association with Kardana/Mart Sharp Entertainment, of a musical by Fred Ebb (book and lyrics), John Kander (music) and Bob Fosse (book). Based on the play by Maurine Dallas Watkins. Original production directed and choreographed by Fosse. Directed by Walter Bobbie. Choreography by Ann Reinking in the style of Fosse. Scenic design: John Lee Beatty. Costume design: William Ivey Long. Lighting design: Ken Billington. Sound design: Scott Lehrer. Orchestrations: Ralph Burns. Dance music arrangements: Peter Howard. Script adaptation: David Thompson. Musical coordinator: John Monaco. Associate producer: Alecia Parker.

* MAKING MERRY

The “Chicago” cast members blow into Maggiano’s in Costa Mesa for a Windy City-style feast. E4