By JESSICA NEU
Four loud staccato brass chords resonated through the Benedum, and with that, Chicago took over the Cultural District. The classic Kander, Ebb, and Fosse musical marks its triumphant return to the Benedum Center through March 15th. With the recreation of Original Production Direction by David Hyslop and the recreation of Original Production Choreography by Gregory Butler, Chicago transports audiences to the roaring 1920s. In an era marked by modernity, jazz, consumerism, and liberation, we meet Vaudeville performer Velma Kelly (Claire Marshall) and seemingly ditzy, but cunningly conniving Roxie Hart (Ellie Roddy). Set nearly 100 years pre-Me Too era, Velma and Roxie meet in jail after both commit murder. Velma killed her husband and sister after discovering their affair, and Roxie shot her lover when he tried to leave her. Both women crave attention, fame, and notoriety, largely to mask their own insecurities. With the help of the lovingly corrupt security guard Matron “Mama” Morton (Illeana “illy” Kirven), Velma and Roxie both instill counsel from the slick, debonaire defense attorney Billy Flynn (Max Cervantes).
Chicago explores corruption, the media’s propensity to loosely interpret the truth, and the idea of an ordinary person achieving fame. Debuting in 1975, Chicago was certainly ahead of its time. Fifty-one years later, Chicago remains one of the most modern musicals from an eclectic and transformative period in Broadway history. William Ivey Long’s minimalist black costumes evoke a sexy sense of cool, elevating the performance to a level of sleek sophistication. Ken Billington’s lighting design, with high-contrast colors and warm spots, highlights the show’s dark atmosphere while also drawing audiences’ attention to the performers’ slick precision.
All the production pieces come together to illuminate the character-driven score and iconic Fosse choreography. Music Director Andy Chen leads the onstage musicians through the well-known numbers, including “All That Jazz,” Cell Block Tango,” and “Razzle Dazzle.” The band remains on stage for the entire show, creating a downstage space for the actors that is intimate but never feels small. Butler masterfully recreates Fosse’s original choreography, and the company executes sensual, slinky movements filled with isolations and restraint in criminal synchronicity.
“Cell Block Tango” was a particular standout as the six merry murderers of the Cook County Jail all declare why they had to kill their partners. Each soloist takes her turn to plead her case, but leans into comedy rather than dramatic intensity to tell her story. The choice pays off as a bit of comic relief is welcomed throughout the otherwise fast-paced drama. Roddyand Cervantes also drew some laughs during the well-choreographed and overly dramatized “We Both Reached For the Gun,” where Cervantes controls Roddy like a well-oiled marionette.
As Roxie, Roddy is quirky, seemingly innocent, but deeply cunning. She pines over men while using her husband, Amos Hart (Marc Christopher), to her own benefit. Roddy delivers vocally in her act one solo “Roxie,” but is especially convincing and hilarious when she takes the stand at her own trial during “When Velma Takes a Stand.” Roddy and Marshall complement each other well, but Marshall’s dance technique is a show standout. Marshall starts the show on all the right notes, leading the opening number, “All That Jazz,” but I appreciated the depth that she poured into Velma as the show continued.
Throughout Chicago’s history, Amos Hart has become a fan favorite. It is easy to feel sorry for Amos. He is a well-intended, loving, and doting husband who is even willing to confess to a murder he did not commit. Christopher delivers as the spinless but loyal husband who has been lied to nearly his entire life. His act two solo and “Mister Cellophane” is the perfectly heartbreaking, emotional center of the show.
At its core, Chicago is a story of desperation. Amos is desperate to be seen, acknowledged, and loved. Both anti-heroines, Roxie and Velma, seek fame and adoration. They both dream of having their name in the papers and of being famous performers. Both women have dealt with years of rejection, and once they find themselves in jail, they are desperate not only to achieve notoriety but also to hold on to it. Fame, of course, is fleeting, but these women seek a world full of yeses in an otherwise disparaging life. Chicago, a musical written in the 1970s about life in the 1920s, still reads as a timeless tale about the relationship between desperation, fame, and corruption. Its exploration of flawed humanity, set to catchy vaudeville-style jazz and blues, will continue to dazzle audiences for years to come. Audiences will come for all that jazz, but leave with a healthy dose of societal commentary wrapped in a very sexy package.
TICKETS AND DETAILS
Pittsburgh Cultural Trust PNC Broadway in Pittsburgh series presentation of Chicago the Musical is at the Benedum Center, March 10 to 15, 2026. For tickets visit: https://trustarts.org/production/100797/list_performances
Categories: Arts and Ideas
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