Limber dancers highlight musical 'Chicago'

There's nothing quite like seeing a live show. True, movie theatres might have made advancements when they came out with surround sound, but you can't beat the riveting suspense that comes with a stage performance. Where else can you find women climbing tall ladders in spiky heels, tights and black leather underwear? Where else can you hear the resonating sounds of an operatic woman, only to find out it's a man in drag, or see men running around in top hats and tight black pants picking up women and carrying them around on chairs? The national tour of "Chicago," at the IU Auditorium this past Tuesday and Wednesday nights, had all that and more. \nThe show initiated as song after song began to unfold the tale of two self-centered women who had their eyes set on fame and glory by way of a career singing jazz music. Two separate sets or adulterous affairs involving the two main characters, Velma Kelly and Roxie Hart, lead to the murders of several people, landing them in a women's prison where they meet. During their prison stay, they compete for the limelight and are supervised by the prison warden, "Mama" Morton, who does them favors for money, like getting them the best lawyer in Chicago, Billy Flynn. \nFlynn with his slick, city charm convinces the media of their innocence and gets both women out of prison, all the while the women engage in jealous arguments. However, the show ends with the two reconciling by deciding to do a double act. \nI have seen the film "Chicago" and for that reason can tell you this plot with confidence. However, had I not been previously educated to the twists and turns of the plot, I may have spent more time trying to figure out what was going on, than enjoying the lavish song and dance numbers. Other audience members agreed.\n"I thought the musical was really good, but the movie was better, the scenes flowed better in the movie," said Freshman Kyle Benham. \nThe Broadway version lacked a bridge between music and character lines. Sure, a random character threw out the occasional narrative line, but the use of dialogue between the show's cast would have permitted more understanding of the story, than did the back-to-back musical numbers. \nThe jazz music in this performance was everything. It set the over-and-under tones for the show's plot, characters and dancing. For this reason, it was no surprise that the show's opening number was "All That Jazz" performed by Terra MacLeod as Velma Kelly. If movie go-ers had already seen Catherine Zeta-Jones perform this song, MacLeod's rendition would be the first indication that these two were very different. Visually she was fascinating with her crisp dance movements and intense facial expressions. She sang with a strong and rough, yet broadway-esque voice that struck audience members in different ways.\n"Her voice was good and it was jazzy, but it needed to be more forceful and more aggressive." said freshman spectator Christa Frye, comparing MacLeod to Zeta-Jones. \nBut regardless of varying singing opinions, many could easily be won over by the seductive dancing. The Tony Award-winning choreography by Ann Reinking was phenomenal. The sexual essence of the movements could hardly be ignored, and the wardrobe of the cast just added to the excitement. The choreography, which seemed to be influenced by ballet, was laced with challenging syncopations for the dancers. The flexibility of MacLeod and other performers was jaw-dropping. \nProps were used to create even more visual pleasure in these daring numbers. Chairs, over-sized white peacock feathers, glitter, ladders and lights told a story of their own. \nOverall, I was thrilled to have experienced the performance. It was a powerful, high-energy show that left people with a smile on their face and a couple of new songs to sing in the shower. The cast gave it their all, and in the end, that's all they can do.