Riddle (costumes) and Kim Killingsworth (lighting), whose work brilliantly captures the burlesque quality of the piece.Īs a musical, “Chicago” has little dramatic action and doesn’t go anywhere, but as sizzling, side-splitting vaudeville it simply “razzle-dazzles.”Ī Long Beach Civic Light Opera presentation of a musical in two acts, with book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Ebb. Their artistic choices are precise, aesthetic and entertaining. O’Haughey steals the show with the re-creation of the warbling journalist, Mary Sunshine.įrom what is shown in “Chicago,” LBCLO should hold on to Rob Marshall, choreographer Ann Reinking and musical director John McDaniel. Barney Martin plays Roxie’s unwanted “Sad Sack” husband with comedic pathos, evoking much laughter and sympathetic sighing, while M. As Roxie’s reptilian, brilliantine-doused lawyer, Gary Sandy takes command of each opportunity with aplomb. Supporting these deadly dolls, Kaye Ballard hilariously creates a matron who would be completely at home behind the wheel of a Mack truck. This is the only home video that features the Barney Home Video logo in low pitch. Stephen would later appear with Min and Jason again in the 10th anniversary special Sing and Dance with Barney. This is the only home video that uses the regular Season 3 intro. Her understated performance is accented by fluid dancing and piercing, appropriately nasal singing. This was the first home video since Barney Goes to School not to have BJ or Baby Bop. If she gets any younger, her next role will have to be “Peter Pan.”Īn ideal contrast to Prowse’s lushness, Bebe Neuwirth’s deadpan, bloodless Velma intimates the potential to cut to the quick. With legs that go on for days, this lady kicks, leaps, shakes and executes a few moves that are better seen. Juliet Prowse (Roxie), as sassy, saucy and sexy as anyone has a right to be, pockets the show from the gate–the quintessential dancer and comedienne. Kander-and-Ebb shows have never been notable for their fluid blend of book and score, with awkward song placement and a choppy script plaguing the team’s first notable work, “Cabaret.” Interestingly, this same liability works well as a theatrical device, contributing effectively to the vaudevillian quality of “Chicago,” with most scenes being introduced by the onstage bandleader (John McDaniel) in ’20s radio fashion. In the end, these flapper fatales find that their fickle public abruptly shifts loyalties in its never-ending courtship of the latest prime time crime. In the slammer, Roxie meets hard-edged Velma (Bebe Neuwirth), a murderess who finds her newsworthiness fading in Roxie’s limelight a mannish matron on the take (Kaye Ballard) and a bevy of jailhouse beauties.

Barney min flapper