The current revival of Chicago opened on Broadway on November 14, 1996. No other American musical has lasted that long. I saw this show months after opening before Bebe Neuwirth took home a Tony for her Velma Kelly. I decided now was finally the time for a revisit. Why? Jinkx Monsoon.
Let’s begin with the pre-show energy in the theater. I’ve been to Broadway openings. Seen megastars in smash hits. The Ambassador Theatre that night was in rarified air. The atmosphere was electric and pulsating. When the lights came down and the orchestra began “All That Jazz” the audience roared. Literally roared. To say it was magical would be an understatement.
So how does a warhorse like Chicago hold up? Fred Ebb and John Kander’s score remains classic and brilliant, filled with memorable tunes. The cynicism of this story is still relevant. Chicago takes place in the 1920s and was first produced in the 1970s. Manipulating the press and self-serving obfuscation is our world today. The sarcasm in “Razzle Dazzle” is still fresh commentary. “Give them the old flim flam flummox / Fool and fracture ’em / How can they hear the truth above the roar?”
Did I have a great time at this show? Yes. First, how was Jinkx? Simply terrific as the prison Matron “Mama” Morton. Her entrance applause was deafening. Wasn’t it nice then to hear an expert rendition of “When You’re Good To Mama” and even higher heights achieved in the second act’s hilarious “Class”. I’ve seen Jinkx in The Vaudevillians off Broadway, on television in RuPaul’s Drag Race and also in the fantastic drag Christmas burlesque The Jinkx and DeLa Holiday Show. I knew the performance would be professional and seriously delivered, and it was.
Now for the other terrific news. Charlotte d’Amboise’s turn as Roxie Hart was exceptionally entertaining. Her “Roxie” number was truly a showstopper. As lawyer Billy Flynn, James T. Lane was excellent from his “we love Billy” entrance to his razzle dazzling all of us. R. Lowe has been playing Mary Sunshine for fifteen years and it’s a doozy.
Over and above that, Evan Harrington’s duped loser Amos Hart was stunning. I have never ever heard a better “Mister Cellophane”. When he is forced to leave the stage near the end of the show without exit music someone in the audience exclaimed “that’s terrible”. We all howled – and felt sad too.
The rest is a mixed bag with both good and mediocre sprinkled in. All of the “in the style of Bob Fosse” numbers are executed but my eyes were laser focused on certain performers who made you notice them. It did not help that I saw a preview of the upcoming revival of Bob Fosse’s Dancin’ the following evening. Every one of those dancers are eye-poppingly alive (with tremendously more complicated work to do). Routineness, unfortunately, tends to be the norm with longer runs despite their extremely high ticket prices.
Michael Scirrotto was a standout in his role as The Jury. Jessica Ernest (Go-To-Hell Kitty) was also eye-catching. Mary Claire King, however, stands alone as if Fosse himself discovered her. All four of us were mesmerized by her presence and dancing. If the whole show were at that level, this Chicago would be stratospheric. That said, the “Cell Block Tango” was particularly fine with Velma (Lana Gordon) and “the Girls”.
Chicago remains an extraordinary musical brimming with superlative songs. This production changes casts often, particularly the principle parts, in what is commonly referred to as stunt casting. I am thrilled I entered its orbit when a supernova exploded and a grand Broadway evening brightly dazzled.
Chicago will likely be running long after my time here on Earth has ended. Jinkx Monsoon will play Mama Morton until March 26, 2023 and then will be touring the universe in her upcoming extravaganza Everything At Stake beginning in June.
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