Taylor Lane as Velma Kelly and the ensemble. Photo by Jeremy Daniel.
“Chicago the Musical,” originally subtitled “A Musical Vaudeville,” with music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse, is set in the 1920s Jazz Age and based on a 1926 play of the same title by playwright/screenwriter Maurine Watkins. Ms. Watkins, a former journalist for the Chicago Tribune, based the play on her reporting of the sensational 1924 trial and acquittal of two married women accused of murder. Cecil B. DeMille produced a 1927 film version based on the play. A second film version, starring Ginger Rogers, was made in 1942.
…accomplished singing and acting abilities.…a timely comment on contemporary society.
The musical premiered in Philadelphia and moved to Broadway in 1975. Bob Fosse introduced his unique style of direction and choreography, and the show, featuring Gwen Verdon and Chita Rivera, was nominated for nine Tony Awards. It debuted in the West End in 1979. There have since been revivals both on Broadway and in the West End, several UK and American tours, and productions staged in countries around the world. The 1996 Broadway revival won six Tony Awards and holds the record for the longest-running musical revival and the second-longest show on Broadway. The 2002 musical film adaptation, starring Catherine Zeta-Jones and Renee Zellweger, won the Academy Award for Best Picture.
The single black cabaret chair with a black bowler hat propped on it under a single spotlight in front of the act curtain foretells the production audiences have come to expect and love. Cast members announce each musical number, and the lyrics move the plot forward as well as the dialogue, giving the “who-what-when-where-why” background of the two women’s murder cases. “Chicago” is a show that demands strong stage presence, singing, dancing, and acting skills of both leads and chorus. Sets and costumes are deliberately minimalist. The orchestra performs on stage on a tiered wide platform with several levels. The actors also use the center and sides of the platform to make entrances and exits, even at times sliding down the side banister.
As noted in the program, the touring productions are directed and choreographed in the style of Bob Fosse. This North American tour, directed by David Hystop and choreographed by Gregory Butler, recreates the 1996 Broadway production directed by Walter Bobbie and choreographed by Ann Reinking. The costumes are mainly different versions of black body stockings in order to concentrate the audience’s attention to the complicated movements of feet and hands moving in syncopation. The chorus dances often as an entire unit doing the same step and hand movements as if it were a single person. Although none of the lead actors have Broadway experience, they have performed in regional theaters, cruise ships, theme parks, and other local venues. Taylor Lane (Velma Kelly) and Ellie Roddy (Roxie Hart) play the protagonists with amazing energy and skill. The character actors Connor Sullivan (Billy Flynn), Andrew Metzger (Amos Hart), Illeana Kirven (Matron “Mama” Morgan), and D. Filllinger (Mary Sunshine) all have musical numbers to show off accomplished singing and acting abilities.
Fred Ebb’s original conception of “Chicago” considered each character to be based on a known vaudeville performer, e.g., Roxie as Helen Morgan, Mama as Sophie Tucker, Velma as Texas Guinan, Billy Flynn as Ted Lewis. This allowed composer John Kander to write songs that fit those performers’ individual style.
Ken Billington’s lighting design deserves special mention among the more than 30 members of the main creative team. He used multi-colored spotlights above and at the sides of the stage, footlights, and filters to scatter the light. Against the background of a black painted and curtained set, with cast members in black costumes, the lighting provided a strong focus on the musical numbers.
The orchestra, conducted by music director Cameron Kinnear, with brass, reeds, percussion, banjo, and piano, kept the jazzy music jumping with expert playing, especially in the entr’acte medley.
“Chicago the Musical” brings this season of the Hippodrome’s Broadway Series to a close. The show offers a tongue-in-cheek musical comparison between the American justice system and “show business.” As it continues on Broadway and on tour, it is a timely comment on contemporary society.
Running Time: Two hours, 30 minutes, including a 20-minute intermission.
Advisory: May be inappropriate for ages 12 and under.
“Chicago the Musical” runs through June 8, 2025, at the Hippodrome Theatre, 12 North Eutaw Street, Baltimore MD 21201. For more information and to purchase tickets, please visit the Box Office Monday – Friday, 11 a.m.-3 p.m., on performance days, 11 a.m.-curtain, or go online.
