Haze subtlety drifts in through the rafters of the Keegan theatre and as it catches the light it gives the impressive two- story set a quality that helps transport us back to the 1920s and prohibition era Chicago. Matthew J. Keenan’s design features 4 wooden staircases with both levels featuring vertical blinds that transform effectively into jail cells and allow the orchestra to perform unobtrusively.
And All That Jazz opens the show and while the choreography is well thought for this iconic number the execution of the company feels a little tentative. After Roxie Hart kills her lover we get the first look at the bold character choice of Maria Rizzo in Funny Honey. The song starts as a sweet ode to her husband, Amos (Michael Innocenti) before turning on a dime as she berates his stupidity when he tells the truth to the police. Roxie is often played with a hint of crazy but Rizzo plays the role completely unhinged and it’s a terrific choice as we believe she is capable of absolutely anything. Innocenti is the perfect foil for Rizzo as he captures all the naivety of his character in every line and each facial expression.
The lighting design of Jason Arnold is a real strength of the show (the overhead spot in particular used to striking effect) but the one small complaint comes in Cell Block Tango where the cells are just too dark. It’s a strong vocal from Jessica Bennett as Velma Kelly but the pacing of the spoken interludes drag and this isn’t quite the first act highlight it should be. The scene between Matron Mama Morton (Rikki Howie Lacewell) and Velma suffers from the same pacing issues and lack of connectivity to the dialogue with Bennett’s gaze when looking out too often at the front row when it should have been the back of the house.
Billy Flynn (Kurt Boehm) enters from center aisle of the audience and it feels like a slightly questionable choice from our co Directors (Susan Marie Rhea and Mark A. Rhea) and the moment isn’t helped by Boehm’s mic not working and that plays a part in All I Care About is Love falling flat. That is soon forgotten as Chris Rudy shows off his vocal range as Mary Sunshine on A Little Bit of Good and the best moment of the show follows as Roxy becomes Billy Flynn’s puppet for the press in We Both Reached for the Gun. Rizzo is transformed with stealthily applied rosy cheeks to take on a rag doll like appearance and Rachel Leigh Dolan’s choreography is a joy to watch.
The Conductor (Michael Kozemchak) introduces I Can’t Do it Alone as Velma realizes she needs Roxie and attempts to persuade her to become part of her act. Kozemchak never commands the stage in the role – to the point where it may be a choice – leaving us wanting a little more ‘showbiz’. Bennett’s vocal consistency during a highly energetic routine is commendable and the relationship between Velma and Roxie is always interesting to watch culminating in My Own Best Friend ending the first act on a strong note.
The orchestra is one of the stars of this production under Music Director / Conductor, Jake Null, and they start act two sounding at their best. Things are really moving now and I Know a Girl and Me and My Baby fly by before Amos has his moment with the ballad for the ignored, Mr. Cellophane. Innocenti sings it sweetly and it’s a nice moment but for the first time the staging and the limitations of the set start to make the story telling feel a little unimaginative. Razzle Dazzle pushes back against this notion with the levels used to maximum effect as the company performs a variety of circus acts. While the stage is framed beautifully the execution of the interesting choreography never quite reaches the heights we are hoping for and despite Boehm’s dancing ability he doesn’t bring enough charisma to the role.
Class showcases the best vocal for both Lacewell and Bennett as their voices blend to produce a real moment and the show builds towards a very strong finish musically. Rizzo and Bennett leave everything on the stage with their performance of Hot Honey Rag and it’s a rousing finale. This is another strong production from Keegan and while it falls short in some areas, Maria Rizzo’s take on Roxie is a performance that pushes the value of the show past its’ tickets price.
#tothepoint Rating: 75/100
You can view a full breakdown of the allocated points here.
Ticket Price: $45
Value Review: +$5