'Chicago' affirms its first-city status

So how does that transition affect our perception of the live production? After we've seen the story on film, larger than life, in full technicolor splendor with all the cinematic bells and whistles, is the stage show still persuasive? Does it still have the power to "razzle-dazzle 'em?"

You bet. As shown by the new national touring production that opened last night at the Wang Theatre, the stage version of Chicago still has it, not least because of all the reasons live theater is so often more dynamic than the silver screen to begin with.

But beyond that, "Chicago" is simply a sensational show. (And that's affirmed by the Tony Award-winning Broadway production, which is still selling out shows after six years, making it the longest-running revival in Broadway history.)

In fact, the theatrical version of "Chicago" is sharper, darker and funnier than the film, and the story plays particularly well onstage, where much is left to the imagination. It is, after all, a sordid (albeit fact-based) tale of corruption, exploitation, greed, and getting away with murder.

There's hardly a sympathetic character in the bunch, and what makes that palatable is how stylized and cynical (versus up-close and realistic) it remains. What carries the show is less the drama of the narrative than one great production number after the other. There's nothing like seeing song and dance live in real time, and with the band onstage as an integral part of the proceedings, the energy is palpable.

The touring cast, many direct from the Broadway production, is excellent. The ensemble is vividly expressive and tight, brilliantly projecting all the little gestural details that make Fosse's choreographic style so distinctive.

In general, however, the dramatic characterizations are a little undefined compared with other casts. Brenda Braxton is appealingly natural as Velma Kelly. She has a great sense of physical comedy and a gorgeously rich singing voice, but she's missing that ruthless cattiness we've come to expect.

As Roxie Hart, Bianca Marroquin is highly entertaining but eccentric and flamboyant. Only during the nicely modulated monologue do we get a sense of vulnerability. Both women are terrific hoofers.

Gregory Harrison, as the sly lawyer Billy Flynn, is less the savvy, silver-tongued charmer than the blustery showman. However, he looks totally at home in the production numbers, and he has a very solid voice.

Carol Woods gives depth to Matron "Mama" Morton, portraying cunning yet warmth. She has a fabulous voice with a slightly wicked growl and bravura jazz flourishes.

Her duet "Class," with Braxton, was a highlight of the show. R. Bean was painfully over the top as Mary Sunshine. But Ray Bokhour was perfectly pitched as Roxie's clueless husband, nearly stealing the show with the poignant "Mister Cellophane."

Chicago

Musical in two acts

Book by: Fred Ebb and Bob Fosse Music by John Kander. Lyrics, Fred Ebb. Choreography, Ann Reinking (in the style of Bob Fosse)

Directed by Walter Bobbie; produced by Barry and Fran Weissler

At: the Wang Theatre, through Sunday 1-800-447-7400.