'Chicago' delicious, sexy, cynical show

Jim Kershner - Staff writer

The tone was set even before the opening curtain, when a man in black walked on stage, pointed his tommy gun at the packed house, and threatened mayhem to anyone who left their cell phones or beepers on.

"And don't even think about writing us a letter about the show's content and language," he said. "This ain't `Annie.' `Annie's' over. This is `Chicago."'

And then a whole squad of dancers dressed in fishnet stockings, bowler hats and what you might call Dance Lingerie slithered onstage and proved that this was no "Annie." The next two and a half hours consisted of equal parts sexy Fosse choreography, hot jazzy tunes and deliciously cynical satire.

And I enjoyed every minute of it. I wondered briefly if this was because I'm a dirty old man -- or just a sarcasm-loving old man -- but I couldn't help but notice that the rest of the crowd loved it too. They gave it a much-deserved standing ovation, the spontaneous kind, not the obligatory kind.

Granted, the Coeur d'Alene Summer Theatre had good timing on its side, since the movie version of "Chicago" just won the Best Picture Oscar and broke box office records. Most people in the crowd probably knew what they were in for, and were primed for it.

But give credit to director Roger A. Welch for making the most of this opportunity. This production was easily the match of the national touring version which came through Spokane a couple of years ago. The acting talent in this professional summer stock theater continues to amaze, and not just in the leads (which were spectacular). The dance ensemble, choreographed by Michael Ericson, was also national quality. And the 13-piece band, directed by Deborah Hansen, was far superior to the smaller road show combos.

And how does this live version compare to the movie?

It's similar enough so that I can say with some confidence: If you enjoyed the movie, you'll enjoy it live. Yet it's different enough (more stagecraft, more pure dance firepower, more songs) so that you won't feel you're watching a rerun.

And it may, in fact, have better leads. Taryn Darr, a new find out of Seattle, can sing and dance rings around Renee Zellweger as Roxie. Darr has the same look -- compact feisty blonde _ but she can sell a song with far more authority. I especially liked her signature song, "Roxie," in which she radiated intensity and pure will as she daydreamed about her new fame and her new vaudeville act , accompanied by one boy, no, two boys, no, what the heck, an entire WALL of boys.

And Kelly Moore, from, fittingly, Chicago, is a complete knockout as Velma. Moore has the total package -- she can belt it like Merman, dance like Liza and does she ever know how to act the tough broad. I've always thought the role of Velma is the best one in the show (despite the fact that the plot revolves around Roxie), and Moore nails it.

Her sly and confident opening number, "All That Jazz," is worth the price of admission alone. And yes, she does look a bit like Catherine Zeta-Jones.

Frank Jewett, a CdA Summer Theatre veteran, is a perfect fit as Amos. His self-effacing "Mr. Cellophane" number was a show-stopper, and he managed to make it both funny and tragic at the same time. Amy Ross is also a kick as Matron Mama Thornton, belting out another showstopper, "When You're Good to Mama."

The only actor who was a bit off was Mark Cotter as the lawyer Billy Flynn. He seemed too stolid. I would like him to revel a bit more in the cynicism, to show us that manipulating the system is not just his job, but his idea of a good time.

And I don't know if people realize how terrific it is to have that big band, live on stage, churning out those slinky beats and those wah-wah trumpet solos. This is a show, after all, about all that jazz.