Chicago at the Ordway

Chicago is a musical hellbent on providing ample opportunity for self-effacing humor.  It's raucous and flashy, with a lot of scandalous clothing and spread-eagled dance moves, and behind every step is a smiling, glittering wink at the audience asking, "don't you just love a good SHOW?!"  Truth is relative and perhaps unimportant in this Broadway darling, the murderesses come off clean, the one Innocent heads to the gallows, but with a high step and a grin, we are completely supportive of those narratives.

I've never seen Chicago live before and this was actually my first trip to the Ordway, I'm ashamed to say.  I scratched the heck out of an old Chicago soundtrack CD and I know every verse of Cell Block Tango by heart, but I've never seen the gyrating, Fosse syncopation in the flesh. And what a difference flesh makes!  Even from balcony seats, the smirks and shoulder shrugs and winks infuse the numbers with a joy that only comes form the clickety-clack of heels on a stage. More than once the audience met the actors' enthusiasm with hoots and bravos from every corner of the theatre.

Chicago, to me, while certainly a show about Velma Kelly and Roxie Hart (pitch perfect performances by both Terra MacLeod and Tracy Shayne) and their quasi-heartless, quasi-impassioned murder of their men, has always been a show peppered with juicy supporting opportunities.  And the delicious roles of Amos Hart, Billy Flynn, and Mama Morton were filled so perfectly, they occasionally overshadowed the leading ladies. But I think that's part of the beauty of Chicago.  You're transfixed by the stories of Velma and Roxie, just like headline hungry press, but then your attention is drawn to these supporting perspectives breathing life into 1920s Chicago. Mama Morton, played by Kecia Lewis-Evans, is especially stunning. I don't think I have ever experienced a voice with that kind of operatic, yet guttural, tone. Her every note seemed backed by a freight train but the tone was so perfect, so controlled, there was never a sense that she was overreaching. Her solos were the highlight of the show for me and judging by the uproarious applause around me, I don't think I was the only one holding that opinion.

I will admit that I was skeptical of Mr. O'Hurley (of Seinfeld fame) taking on the role of Billy Flynn. But O'Hurley smirks and flirts so flawlessly that despite Flynn's somewhat suspect character, you can't help but love him a bit (and want him to buy you a drink). That speaks volumes to O'Hurley's skills as an actor and his singing chops are nothing to dismiss. Joined by the showstopping (I believe there was an audible gasp at the revealing moment) R.Lowe as Mary Sunshine, the banter between these two was another high point of the evening.

A fantastic array of supporting actors only serve to strengthen and highlight the skill of the ladies tasked with making murderesses both lovable and interesting.  Velma and Roxie's stories are both exasperating, given that they were based on true events, and hilarious, given how quickly we redeem this wayward pair. They were swept up in the debauchery and excitement of the Jazz Age, poor girls, and we're more than happy to be swept along with them.

Chicago is only in town for a short time, Aug.7-12, so get over to the Ordway soon!

Follow all my toe-tapping theater experiences on Twitter @TheMinneapolite.