‘Chicago’ brings sleek style and sharp satire to Benedum

Razzle dazzle returns:

There is no set to speak of, and the costumes are sparse in the touring production of “Chicago,” which opened at the Benedum Center Tuesday night and runs through March 15, part of the Pittsburgh Cultural Trust’s 2025-2026 PNC Broadway in Pittsburgh Series.

But it turns out that the lack of adornment is the perfect way to showcase the music and Bob Fosse-inspired dance that brings this show to life.

“Chicago” is a mostly fast-paced satiric and sexy romp through the world of 1920s Chicago murderesses, where bad acts are rewarded with celebrity and fame is fleeting (sound familiar?).

With the exception of a monologue in the first act that dragged a bit on opening night, the show moves quickly from number to number, telling the story of Velma Kelly (Claire Marshall), who murdered her sister and husband to become the darling of the tabloids, as she awaits trial. But her popularity wanes as Roxie Hart (Ellie Roddy) — adulterous killer of her lover — bursts onto the scene, propelled by smarmy defense attorney Billy Flynn (Max Cervantes).

The score by Jewish composers Fred Ebb and John Kander includes fan-favorites like “All That Jazz,” “Cell Block Tango” and “Razzle Dazzle,” and each was greeted enthusiastically by the audience. The crowd’s warm reaction suggested that many had seen Chicago before — hardly surprising for a show that has been part of the American theater zeitgeist since its 1975 Broadway debut, staged by dance legend Bob Fosse.

Based on the 1926 play by Maurine Dallas Watkins, a journalist who covered murder trials for the Chicago Tribune , the musical’s first Broadway run ended in 1977, after 936 performances. While it received 11 Tony nominations, it got no awards that year, losing out to another dance-heavy show, “A Chorus Line.”

The revival of “Chicago” launched in 1996 and did much better, earning considerable acclaim and winning six Tonys. It is still running on Broadway today, the second-longest running Broadway show of all time.

The touring production is based on the revival, with the sleek, stylized choreography of Ann Reinking — a Fosse protégé— recreated by Gregory Butler, preserving Fosse’s style and cementing the choreography as a defining element of the show. The sharp isolations, angled poses and sultry movements create the sleek, jazzy atmosphere of 1920s Chicago while depicting the seduction of celebrity.

The band, led by Music Director and Conductor Andy Chen, is on stage for the duration of the performance, adding to the vaudeville feel of the production.

Marshall and Roddy excel in their lead roles, and are complemented by strong supporting characters. Marc Christopher as Roxie’s cuckolded husband, Amos Hart, exudes a sweet gullibility and delivered a heartfelt — and very fun — rendition of “Mister Cellophane.” Likewise, Illeana “illy” Kirven, captured the conniving/caring essence of Matron “Mama” Morton, with feeling and humor.

The touring production of “Chicago” proves that sometimes less really is more. With minimal staging and a focus on music, movement and performance, the show lets its sharp satire and unforgettable choreography take center stage. Nearly 50 years after its debut, “Chicago” still dazzles with its slick style and biting wit — and judging by the cheers Tuesday night, Pittsburgh theatergoers are more than happy to be razzle-dazzled once again. PJC

Toby Tabachnick can be reached at ttabachnick@pittsburghjewishchronicle.org.