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 | Title : Chicago - The Musical (1996 Broadway Revival Cast)
Author : John Kander
Release Date : 19970128
Binding : Audio CD
Regular Price : $17.98
Amazon.com Price : $10.19
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Editorial Reviews :
'Chicago's plot was cynical and satirical in 1975, but today feels like a documentary.' So says Walter Bobbie, the director responsible for this revival of the Kander, Ebb, and Fosse 'musical vaudeville,' which began as a minimalist concert staging for New York City Center's Encore! series before moving on to Broadway, critical acclaim, and Tony Awards. Actually, it'd be hard to go wrong with any production, no matter how it's staged, because the Roaring '20s jazz-based music here is simply great. Some people actually prefer the original's Gwen Verdon and Chita Rivera as Roxie and Velma to Ann Reinking and Bebe Neuwirth, but no matter. Joel Grey is perfect as Amos Hart, James Naughton matches Jerry Orbach's original Billy Flynn, and again, the music here is wonderful. A near-flawless classic. --Bill Holdship
Buyer Reviews :
For many, this was their introduction to the galvanising score of Kander and Ebb; the delightful cast-recording to the 1997 Broadway revival that would have never been possible without the now-legendary Encores! concert version in 1996.
The cast is uniformably excellent; Ann Reinking is a playful powerforce as Roxie Hart, Bebe Neuwirth's dry wit serves her well as the bitchy Velma Kelly, James Naughton is the epitome of suave as crooked lawyer Billy Flynn, Joel Grey is the perfect foil for Roxie as the henpecked Amos Hart, Marcia Lewis' powerful voice brings Matron 'Mama' Morton to life, and D. Sabella's breathtaking operatic chops are put to the test with gender-bending sob sister Mary Sunshine.
Rob Fisher's unparalled musical direction enlivens each and every recording that he conducts for, and CHICAGO is no exception. Brassy, well-paced and evocative, his direction is fantastic under the renowned Coffee Club Orchestra.
Ann Reinking's vocal style is fine; her singing is quite character-driven, and one can forgive her lack of singing finesse on the fact that she IS Roxie Hart, and danced the role for all its worth.
Numbers like 'All That Jazz', 'Funny Honey', 'Cell Block Tango', 'When You're Good to Mama', 'Mister Cellophane', 'Nowadays' and 'Roxie' are all show-stoppers. I've said it many times; this score is simply dud-free, and in my opinion only rivals CABARET as Kander and Ebb's greatest score.
(by Byron Kolln)
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