...and all that jazz

Took Lisa to the incredible Majestic Theatre in San Antonio yesterday to see Chicago for her birthday. Yes, I know her birthday was two months back. But Chicago wasn't playing here two months ago, now was it?

The show was top-notch all the way around. A real blast. And folks, if you've only seen the movie, you don't know what you're missing. Granted, the film did some things aces, such as the killer (ha ha) "Cell Block Tango." But the intensity of the live choreography and dance blows the film away. There's no quick cuts and closeups to disguise the fact that Renee Zellweger and Catherine Zeta-Jones aren't professional dancers. Bianca Marroquin, who plays Roxie, was a revelation. She grew up in Brownsville/Matamoros, so she's practically a local girl, but man, did she have me sold on Roxie. "We Both Reached for the Gun" and "Roxie" were incredible bits of character and choreography. Wow. Brenda Braxton, who played Velma, had a great voice and strong stage presence. Billy Flynn... hoo boy. Billy Flynn was played by a name you'll be familiar with--Tom Wopat. Yeppers, ol' Luke Duke hisself was up there onstage beltin' it out with the best of 'em. He was at the souvenir kiosk right up until showtime selling and autographing his CDs (remember, he was going to be a singing star when he departed "Dukes of Hazzard" during that contract dispute). And you know what? He can sing. I've never been a Richard Gere fan, but I thought he was brilliant in the film. Wopat made me forget all about him. Only here's the thing that bothers me in hindsight: Wopat didn't dance. I didn't really notice it at the time, because he was playing the role so well, and interacting with the other dancers, but during big musical numbers, he walked through his part as others danced around him. And he didn't strip down to his skivvies either, which is sort of a signature event with that role, dating back to Jerry Orbach in the original Broadway run. But Wopat was still quite good, caveats aside. And the dancers themselves were phenomenal. Kelly Crandall as "Go-to-Hell Kitty" was a particular treat. The only real disappointment was Melba Moore as Matron "Mama" Morton. I know she's something of a legend. Yes, she can sing with the best of 'em. But she was utterly static every time she got on stage. She hobbled out with her cane, ripped off her song, and hobbled off. With Wopat, at least they disguised the fact he wasn't dancing by surrounding him with undulating, half-naked women. They should've done the same with Morton--I suspect it would've helped considerably. As it was, she simply looked out of her element, which is too bad for someone with her reputation.

The biggest revelation, by far, was that Chicago is funny! I'm serious folk--it's hilarious! The film is full of dark humor, yes, but it's bitter and black, and because of certain creative decisions, many lines are delivered with an intense seriousness in the film, whereas in the play they're rapid-fire punch lines, satire and absurdity. The laughs came fast and furious, and I really didn't expect that. The surreal, vignette approach to the stage version allowed the actors to break the fourth wall somewhat and therefore many of their lines became knowing asides to the audience. It was great. Again, very funny, great dancing and magnificent music. If you get a chance to see this one when it travels to your part of the country, jump on it.

Now Playing: Andean Fusion Spirit of the Incas: Andean Symphony II