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
