“Chicago” at The Fisher is trim and lively
DETROIT, Mich.–Anyone who has seen Chicago will notice when they go to the Fisher Theatre for the current tour that the production is trim. The orchestra is on stage, and there is little set to speak of.
But no matter. The show–running through Feb. 14–, starring Dylis Croman as Roxie Hart and Terra MacLeod as Velma Kelly, and John O’Hurley as Billy Flynn is as lively and fun without a lot of scenery as any production you are likely to see.
The story should be familiar to most by now, as it has been in nearly constant production on Broadway, on tour, and in regional and local theaters, and even school production, for forty years. And then there is the 2002 Oscar winning film. Velma Kelly is a vaudevillian who murdered her husband and sister when she found them in bed together. Velma is arrested and tossed in prison. Chorus girl Roxie Hart gets arrested for the murder of her lover, and tossed in the same jail. There is a corrupt prison matron, Mama Morton (played by Roz Ryan), a slick lawyer who is famous for getting his clients off, Billy Flynn (played by O’Hurley), and Roxie’s schlub and rube of a husband, Amos (played by Paul Vogt).
MacLeod’s vocals and dance moves are sharp, and she conveys the time-weariness that is key to Velma’s character. Croman plays Roxie more comedically than some actresses do, but that is okay because she has the timing and delivery to carry it off. O’Hurley was inspired casting for the tour, as it’s always good to have one well-known face on the stage when charging top dollar for such a familiar show. O’Hurley is best known for having played J. Petermen on Seinfeld, and for later hosting Family Feud. He is a consumate character actor, though, and seems born to play Billy Flynn with his wry and leering facial expressions and oily sardonic diction. And at 62, his vocals are quite powerful and entertaining, and he moves well around the stage.
The back story on the spare set design is that the touring company actually bought the minimal set design and pieces from a non-equity production. It’s extremely economical to carry venue to venue, and was chosen with an eye toward an overseas run.
The costumes aren’t quite period, but that is no matter either, because the music and the iconic dance numbers are the thing with Chicago. Nobody who likes the show should be let down in the least. The principals are fun, talented and nail every inch of the well-worn but iconic show. “And All That Jazz.”