That's Entertainment

In a theatrical world where getting noticed is what's important, Chicago is bound to make an impression. The dance-oriented show is a glittering combination of steamy costumes, Fosse style dance, sparkling lights, energized songs, and over the top characters.

Even with these enticing elements, Chicago hardly needs an introduction. After a spectacular Broadway revival followed by a slew of Oscar nominations, the whole Tufts community is anxious to see what Torn Ticket II student director Kalani Hawks has to offer to this already-popular show. However, Hawks remains untouched by all the hype. As a matter of fact, she hasn't even seen the movie, or for that matter, any rendition of the show. Hawks' first experience with this production is her own. This left her open to direct the show with a blank slate ready to be filled with her own ideas rather than those provided by Broadway or Hollywood.

In addition to Hawks' lack of connection with either the Broadway revival or the recent box office hit, this particular rendition is played from the original script and score. The original 1970s production differs greatly from the Broadway revival and even more so from the film's interpretation.

As for her vision, Hawks sees this piece as pure spectacle with its sole purpose being entertainment. Everything in the show combines to create one aesthetically pleasing tableau. Without a doubt, the most impressive and important aspect of the show is the dance. Thanks to Hawks' extensive dance experience and raw talent as a choreographer, the advanced and energized dance carries the production.

The story takes place on Chicago's famed "Murderess Row" where sultry jazz women provide Chicago's premier form of entertainment: murder. The most famous murderess of them all is Velma Kelly, that is until America's sweetheart Roxy Hart arrives on the scene after having killed her abusive lover. The two women, both hungry for fame, battle relentlessly over whose name will make the headlines. Both are also clients of Chicago's slickest criminal lawyer, Billy Flynn. The plot sticks with the old fashioned formula for success: murder, adultery, manipulation, and of course, sex appeal.

Among talents and highlights of the show are the outstanding voices led by Suzanne Corbitt (Roxy Hart), Andrew Beattie (Amos Hart), Deane Madsen (Billy Flynn), and Moira Murphy-Cairns (Velma Kelly). The dance aspect of the show is led mainly by senior Murphy-Cairns who plays famous murderess Velma. She is accompanied by a very talented chorus of murderess row dancer-singers.

In a production of this scale and skill, cohesion and chemistry among the cast is a must. Despite having initially isolated rehearsal experience, cast members expressed the ease with which this show came together in the final weeks of rehearsal. Other elements that needed to be slowly worked into the process were the orchestra pit, elaborate lights, and large scale staging in Cohen auditorium.

"This is one of the best shows ever," said Madsen who plays Billy Flynn. "We have an awesome cast, a talented pit, and a phenomenal director." This enthusiasm is apparent among the cast and is easily visible up on stage. Everyone agrees that Hawks' choreography not only is an inspiration but also holds the show together.

"This is the only musical I've done that is clearly for the sake of entertainment," said Corbitt who is playing Roxy Hart. Entertainment for both the audience and the actors as it shows that the cast is no doubt having a great time playing and flirting on stage.

Chicago's recipe for success is easy: lying, cheating, killing, energized singing, steamy costumes, and of course, phenomenal and sexy dancing. "This is by far the hottest show I've ever been in," said freshman cast member Emi Norris." "Hot" may be an understatement. Better try not to get burned.