Oh, the joys of that wicked, sardonic team, John Kander (Composer) and Fred Ebb (Lyricist). Lambasting the apathy of degenerative society, while extolling the pleasures therein. Arguably their two most successful shows: Cabaret and Chicago detail cultures so cynical and jaundiced that irresponsible, reprehensible, reckless behavior barely elicits a blink. Sally Bowles’ roommate Elsie may have died of “too much pills and liquor”, but she was the “happiest looking corpse” she’d ever seen. Chicago is set in the 1920’s when women who commit lurid, tawdry murders dominate the headlines and thus, become celebrities. The juicier the particulars, the more devoted their fanbase. Columnist Mary Sunshine acts as point person between the felons and their adoring public. Prison Matron Mama Morton is effectively, a publicist and agent for “the girls.”
The two current contenders, Velma Kelly and neophyte Roxie Hart, fight each other for the limelight. Velma murdered her husband and sister after catching them in the act, and Roxie shot her paramour as he was walking out. They both admit culpability but (as we hear repeatedly) “the truth doesn’t matter”. Enter Billy Flynn whose expertise makes him the attorney of choice, for the innocent women who kill set. Roxie learns quickly that star status only shines as long as your last atrocity, managing to hold her own against an experienced tiger like Velma.
Chicago is permeated with chilly, sophisticated salaciousness. Virtue is for prissy fools and rampant, rushy vice for the savvy and dissatisfied. Of course, it doesn’t take a lot of reflection to see that neither choice is desirable or inevitable, but that doesn’t mean the myth doesn’t prevail. The brilliance of Kander, Ebb and Bob Fosse is the viable contradiction that while the story says, “Come hither,” it also says “Get lost!”. It elicits our taste for ignoring grace while expressing contempt for our hypocrisy. That being said, it’s all dressed in the eclat of blackest satire, giving us permission to shift into autopilot and enjoy. But when Velma greets us at the start of the second act with, “Welcome back, suckers,” she ain’t kiddin. The nastiness that rocks Chicago may be tame by today’s standards, but perhaps, the chutzpah that doesn’t feel audacious, might offer a clue to what our culture wants and gets.
The cast of Chicago is sleek, tacit and on point. Dressed to seduce, in their sheer, peekaboo black that somehow manages to fuse the upscale with the downlow, they are flagrant and acrobatic. Teasing but icy. The women playing Roxie (Dylis Croman) and Velma (Terra. C. MacLeod) are supple, unapologetic, and canny. Actors in the supporting roles: Billy Flynn (Eddie George) Mama Morton (Jennifer Fouche’) and Amos Hart (Paul Vogt) are dry, witty and fresh.
AT&T Performing Arts Center presents Chicago, playing Tuesday Dember the 18th, through Sunday, December 23rd, 2018. Winspear Opera House, 2403 Flora St, Dallas, Texas 75201. 214-880-0202. www.attpac.org