‘Chicago’ has interesting take on celebrity

Timothy Titus

The musicals of John Kander and Fred Ebb tend to explore and

criticize the darker aspects of human society. From their tale of

fantasy and salvation in a corrupt South American prison in “Kiss of

the Spider Woman” (who else could turn a morphine-induced delusion

into a hospital tango in scrubs?) to the lusty examination of the

consequences of denial in Nazi Germany in “Cabaret,” Kander and Ebb

have a knack for depicting social criticism against a catchy tune.

In a society that claims a desire to be tough on crime while

simultaneously rushing to the defense of Kobe Bryant, Kander and

Ebb’s “Chicago,” a criticism of the power of celebrity and the

impotence of truth in American justice, is increasingly relevant

today.

“Chicago” is the story of the competition of Roxie Hart (Bianca

Marroquin), celebrity du jour at the Cook County Jail, and Velma

Kelly (Brenda Braxton), yesterday’s news. Both are murderesses, and

the sensationalism of their stories is played like a violin by

Chicago’s slickest lawyer, Billy Flynn (Gregory Harrison).

As Billy manipulates the courtroom and plays up the latest,

hottest story for his own aggrandizement, the parallels to today’s

society are clear, summed up in the courtroom’s oath, “blah, blah,

blah, blah, truth, truth, truth, so help you God.”

The essence of “Chicago” is its presentation. Unlike the recent

film, the live musical is performed more like a concert than a play.

The orchestra takes up most of the stage, chairs are the only set

pieces, every performer wears a variation of black on black, and most

of the musical numbers are performed directly to the audience. These

facets of the show deftly focus the attention on the music, the

story, and Bob Fosse’s unmistakable choreographic style (skillfully

interpreted by Ann Reinking and re-created by Gary Chryst). This is

not a show of flashy sets and drool-inducing explosions, but a

presentation of good music and dance centered around relevant theme.

Roxie Hart is the heart of the play, and Bianca Marroquin in the

role keeps the show’s blood pumping. Marroquin successfully

interprets Roxie’s basic combination of naivete and naughtiness, and

carefully adds them to the character’s developing ability to

manipulate the justice system. Marroquin’s Roxie seems amazed at her

own luck, happily milking the fame and fortune showered upon her as a

result of her crime.

Poignantly, Marroquin’s choice to stay in touch with Roxie’s

wonder comes home when another murderess takes her place in the

fickle eye of the public. Marroquin’s original naivete returns at

this point, and she succeeds in convincing the audience to sympathize

with her murderous, adulterous character.

Just as movies compete for box office dollars, celebrity

murderesses must compete for the limelight. Roxie’s competition is

Velma Kelly, played with gusto by Brenda Braxton. Braxton conveys

well Velma’s desperation when she is forgotten by the media, and

brings humor to her multiple attempts to earn back the attention she

once enjoyed. What sets Velma apart is her company dance numbers. The

character must combine a stand-alone character with a number of

chorus numbers in which she is just one of the dancers. Braxton does

this well, retaining her character as Velma fades from the spotlight.

A celebrity murder case would be nothing without the ever-present

flashy defense lawyer, who, of course, is a celebrity in himself.

Gregory Harrison’s Flynn is at once slimy and attractive,

representing the worst of the legal system with a winning game show

host smile. We are all familiar with the type of lawyer Billy Flynn

is, and Harrison’s challenge is to stay true to his this character

while, at the same time, allowing the audience to like him. Harrison

brings out the complacency and arrogance of his character, but his

winning smile and wonderful quips give him a human quality, allowing

the audience to believe that the jury and the press are besotted with

a love for him that can only help his clients. Harrison’s Flynn is

truly the “first-rate sorcerer” he claims to be.

The remainder of the cast is rounded out by excellent character

interpretations and dancing exploits. Ray Bokhour’s portrayal of

Roxie’s unfortunate husband, Amos, is simultaneously funny and

poignant. Bokhour plays both sides to the hilt. R. Bean’s rather

amazing vocal skills shine as Mary Sunshine. The chorus, more of a

character in itself, is a company of truly enjoyable and adaptable

triple-threat performers.

“Chicago” is based on a true story, but we don’t need to be told

that. Billy Flynn sums up the social criticism of this piece in his

all-too-true number about the lawyer’s responsibilities, “Razzle

Dazzle.” Guilt, innocence and truth are less relevant in the

courtroom than the flash and pizazz of the defense. “Chicago’s”

message was true in 1924, and celebrity justice (which is now the

name of a TV tabloid show) has not changed since. Just ask Robert

Blake, Kobe Bryant, and, of course O.J. Simpson, how much is true,

and how much is nothing more than Billy Flynn’s “three-ring circus.”

To what extent are the public and the juries blinded by the “sequins

in their eyes.”

* TIMOTHY TITUS reviews local theater for the Daily Pilot. His

reviews appear Fridays.