Ratell’s impressive soprano offers musicality and a big surprise as sob sister news columnist, Mary Sunshine. His touching performance of “Mister Cellophane” is pure gold. Paul Vogt makes a heartbreaking Amos Hart, Roxie’s under-appreciated hubby. Gordon), songs that audiences talk about long after the final curtain. Fouche impresses and soars with “When You’re Good to Mama” and “Class” (a perceptively sung duet with Ms. With a big voice and an even bigger personality, Ms. Jennifer Fouche takes the stage by storm, effortlessly donning the Sophie Tucker-inspired role of Matron “Mama” Morton like a sequined glove. Returning to the role in which he made his Broadway debut, George is certainly a domineering presence however, he lacks the requisite musical chops for songs like “All I Care About” and “Razzle Dazzle.” However, he somewhat redeems himself with the fast-paced, show-stopping comic number, “We Both Reached for the Gun.” The one weak link in this production is in casting Eddie George, a former NFL player, in leading role of high profile defense attorney, Billy Flynn. Both ladies have golden pipes and do Bob Fosse proud as dancers, complementing each other particularly in “Nowadays” and the “Hot Honey Rag.” Her rendition of “Me and My Baby” and “Roxy” stand out as two of this production’s musical highlights. Gordon, along with the other merry murderesses of the Cook County Jail, sings the heck out of the “Cell Block Tango.” Dylis Croman, a ten-year veteran of this musical, makes a gorgeous and unexpectedly dry and playful Roxie Hart. Sexuality oozes from her in every song, beginning with one of Broadway’s best opening numbers, “All That Jazz.” Ms. Lana Gordon, who has the lithe, tight, muscular body of a gymnast and the sultry growl of Tina Turner, owns this production as Velma Kelly. With its sleek, minimalist look, this production is the epitome of the old adage, less is more. Bryan as its emcee-conductor, center stage in a tiered jury box. Ken Billington’s Vaudeville-inspired lighting bathes John Lee Beatty’s minimalist scenic design, which places the band, along with Mr. William Ivey Long’s slinky, kinky creations of sheer, form-fitting fabric are sexy, black and perfect costumes for a cast sporting zero per cent body fat. Walter Bobbie’s original staging and Ann Reinking’s Fosse-inspired choreography have been lovingly recreated for this masterful road company. From musical director Andrew Bryan ’s energetically tireless tempos, played by a top-notch, brass-heavy onstage orchestra, to the gifted, highly accomplished ensemble of stylish actor/singer/dancers, this is a production that truly deserves the label, Broadway in Chicago. The current touring production, sadly playing in Chicago for only a week, is absolutely sensational. When the show opened in 1975, it was unfortunately overshadowed at awards time by another little musical called “A Chorus Line.” Simpson’s murder trial, the celebrity criminal came into vogue and the musical’s dark humor and biting satire was finally appreciated. However, following extensive television coverage of O.J. The original Bob Fosse-directed production, which starred Gwen Verdon, Chita Rivera and Jerry Orbach, wasn’t well received, mainly because it was a musical way ahead of its time.
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