‘Chicago’ in review

By TOM KANE

FORESTBURGH — If you like dancing with lively music under it, and youthful, lithe bodies swirling around on the stage in a whirlwind of passion and over statement, then you’re going to love “Chicago,” Forestburgh Playhouse’s latest production, which opened last Tuesday, July 9.

The cast that Norman Duttweiler, the playhouse’s inspiring producer, has pulled together has all the potential to make “Chicago” a resounding success, even with a weak book and so-so music.

I watched a technical rehearsal last Monday evening, July 8, that began at 8:00 p.m. with stops and starts, one day before opening and couldn’t stay for the second act because it would have taken me into the wee hours of Tuesday morning.

So, I’m reviewing only the first act of the production during a very painstaking technical rehearsal where I didn’t get the full impact of the totality, and I’m telling you that, based on what I saw, you should have a great summer-stock experience in a wonderful summer theater.

My problems with “Chicago,” as a musical, are my affair. I don’t like the music, the lyrics and book, the characters and the over-all aesthetic.

The book is thin with no story line, the lyrics are forced and the characters are flat and uninteresting.

Undoubtedly creators Bob Fosse, Fred Ebb and John Kander are crying all the way to the bank despite my rejection, you say, and you’d be right. They have a proven piece of merchandise on Broadway and in Hollywood, so how do I get off panning their efforts?

As the Romans used to say, “De gustibus non est disputandum” which translates into some thing like, “Beauty is in the eye of the beholder”—a loose translation.

Despite my problems with the piece, the cast made me forget it all and I found myself actually enjoying myself.

I especially enjoyed Laurelle Rethke in the role of Velma, one of the vamps. Her interpretation of the role, her singing and her stage presence riveted my attention.

The same can be said for Kristin Maloney in the role of the other vamp, Roxie.

Heaps of praise go to the choreographer and director Linda Cholodenko with her insistence on positioning, timing and denouement.

So, all in all, I heartily recommend “Chicago” and suspect that you may be more tolerant with Fosse et al  than I am.