Alena Watters as Velma Kelly and the ensemble of Drury Lane’s CHICAGO. Photo by Brett Beiner.

Review: CHICAGO at Drury Lane Theatre

By Naima Dawson

Every town loves a good murder story that is twisted in half-truths, exploited by the media, and smothered in provacative scandal. Seek, and one shall find a murderous wonderland filled with temptation and brassy music at Drury Lane Theater, where Artistic Director William Osetek gives new life to the hit musical, CHICAGO.

There is something sexy about crimes of the heart. They’re even more titillating when the criminal is an unforgiving brokenhearted woman. I mean, if one can slay a soul in a negligee and heels, surely fame awaits her, right? I don’t mean a Beyoncé kind of “slay,” or maybe I do. Either way, this rendition of CHICAGO illuminates the familiar tale of two murderesses and their hilarious attempts to lie their way to freedom, fame, and fortune.

Kelly Felthous nails every part of first-time criminal Roxy Hart. Her wit and stage presence are uncanny. Her vocals and dance are flawless. She masterfully crafts every scene with precision.

Alena Watters is an equal match as the sultry vaudevillian Velma Kelly Alena Watters). Watters’ dancing and singing are stellar. She has those long Broadway dancing legs, and she moves quickly to every step while singing without missing a beat, a breath, or a note. She makes her hard work look entirely effortless.

Justin Brill, moping around as the naïve bewildered husband Amos Hart, has the entire audience rooting for him from start to finish, particularly with his effective “Mister Cellophane.” He has cluelessness and helplessness in love down to a science.

Nothing goes down in Cook County Jail without the consent of Matron Mama Morton, portrayed here by E. Fay Butler. In fact, she meets the needs and wants of her inmates if the price is right or if their purses are filled with dollar bills. The crowd went insane when Butler came on stage. She is a fascinating performer. One perhaps hasn’t heard singing until Butler breathes life into a song, shaping each note with nothing but excellence. While hearing her rip away at “When You’re Good To Mama” is a show-stopping experience, she delivers throughout the night with sharp acting and comedic timing. The only crime is that there isn’t more of her.

Roxie and Velma’s slick-talking, suit-wearing lawyer Billy Flynn is played by Guy Lockard. Lockard juices up that smooth, cunning cheap lawyer swag that makes scandal sell in newspapers. He’s got a powerhouse voice and the ability to hold a note for what seems to be at least a full minute.

It is easy to get caught up in the “Razzle Dazzle” of it all. Where the night is filled with talent, there are moments that fall flat. I wanted so much more from the other “merry murderesses” of the Cook County Jail in “Cell Black Tango.” It was just missing that extra something. Boldness and fire. Their vocals were impeccable, but their believability was in question.

Even with a few minor hitches, this production is quite enjoyable. The music — directed by Roberta Duchak and conducted by Chris Sargent William — is captivating everywhere it should be. Jane Lanier’s choreography is particularly incredible; all the synchronicity really gives the show an added edge. It is a fun fresh take on CHICAGO, and very much worth attending.