chicago: a story of mediocrity on broadway
and all that jazz
“Chicago,” a woman proclaims at the start of the show “a story of greed, corruption, violence, exploitation, adultery, and treachery.” This is true, plot-wise. But perhaps this Broadway production should be categorized as a story of mediocrity.
The show has been on Broadway, in the slightly run-down Ambassador Theater, for the past 27 years. Perhaps at one time it was new and innovative, but its age truly shows now. Each actor, clad in black for the show’s minimal aesthetic, performs the same Fosse choreography and staging as it has been the entire run. It is difficult to discern what the show is bringing to the theatre world in New York now.
The set remains lackluster. At the center of the stage sits the orchestra, held in a large box visible to the audience. The actors mainly perform in the sliver of stage in front, and when unused, sit in black chairs to the side. To dazzle the stage, a curtain of sparkly gold streamers drops from the ceiling. On the curtain, Chicago is adorned with sequins. The aesthetic is plainly understood, but also feels tired.
A show does not have to be a spectacle to be fantastic, but the nature of this show desires it. Each scene would have been enhanced with greater set and costumes. The original production in 1975 follows this well, considerably flashier than the current show.
The state of the show is not in fault of the actors, who were surprisingly inspired with this material. Standouts included Robyn Hurder as Velma Kelly, who was a strong stage presence, hushing the theater as she struts out. Bianca Marroquín has played Roxie Hart for over twenty years and has clearly settled into her role, making distinct and memorable choices.
The show continues its run for several reasons of course. Tourists will always buy out the show to see Chicago, where they are certain to know “All That Jazz” and “Cell Block Tango”. It is too familiar to fail. Besides that, their constant stream of bringing in celebrities to play a role, is sure to boost ticket sales. But the show should not be on Broadway anymore. The production should be rethought to make it impactful in its art and message.