Chicago. The musical that arrived on Broadway in 1975 and was met with mixed critical reaction. Then came the revival in 1996, which was perfect timing for the show's rediscovery. Back in 1975 the idea of scandal, murder, fame, and the justice system simply did not strike a chord with theater audiences. Not so for a jaded 1990s audience - we had seen the Menendez brothers and OJ Simpson trials on TV. Now, we're at the height of media overload, with tabloid TV shows and magazines and of, course the Internet. Chicago has continued to be a juggernaut hit for Kander and Ebb, moving through three Broadway houses: The Richard Rodgers, the Shubert, and the Ambassador (where it is still playing). The film version earned lots of Oscar gold and was a major box office hit as well.

I have seen the revival on Broadway with its original cast (Bebe Neuwirth, Ann Reinking) and over nine national tours. Besides Neuwirth and Reinking, I have watched such luminous ladies as Sandy Duncan, Brooke Shields, Deidre Goodwin, Stephanie Pope, Reva Rice, and Bianca Marroquin portray the two Cook County murderesses. It pains me greatly that I never got to see two of the great legends of Broadway, Chita Rivera and Gwen Verdon, in the original production.

One of the major components of Chicago that I never, ever get tired of watching is that marvelous Fosse choreography: the outstretched arms and legs in an array of unique, precise contortions; the pop of the head; the small flair and fan-like position of the fingers; and all of the other signature Fosse movements. This show displays the majestic beauty of choreography that we will never see in Broadway's future. Sure, we have amazing choreographers working today (Susan Stroman and Jerry Mitchell), but let's be honest here. We have not seen the brilliance and unique craft of dance like the work of Fosse or Michael Bennett.

Even after nine viewings, I still thoroughly enjoy watching the brilliance of the combination of the "Razzle Dazzle" number that segues into the courtroom scene. Or the artistic beauty of "Me and My Baby." Through number after number, we can enjoy the opulence of dance from the mind of Fosse.

The current headliners for this tour are Lisa Rinna ("Dancing With the Stars," "Melrose Place") and Tom Wopat (Tony nominee for Annie Get Your Gun, TV's "Dukes of Hazzard").

Rinna has been with the show since its Portland stop, which was a week ago. She will stay through the Dallas portion of the tour, then head for New York to do the Broadway production along with her husband, film and TV star Harry Hamlin.

On her first entrance, Ms. Rinna seemed nervous, timid even. But she had only one week to work with complete strangers, then had to pick up and go to another city and a new theater - that's a lot to handle. I can empathize with the immense pressure and stress there must be when trying to find your connection with a new cast, the rhythm of the acting of your co-stars, and so forth.

Once she relaxes, Rinna sparkles like the rain of Mylar confetti that falls onto the stage in the second act. Her portrayal of Roxie adds an aura of childlike innocence and naiveté to the crime she just committed. Rinna continues this thread of characterization into the Cook County jail where she transforms into one sexy, cat-like jail cell chick! Rox slithers and shimmies her way into her lawyer's trust as well as others around her. Rinna takes a unique approach to the role, which I actually enjoyed immensely.

Rinna has publicly stated that she has never claimed to be a dancer, nor has she ever done theater. She is from the world of TV and film, which is a more intimate art form, as the camera is only inches from your face. Her dance technique is actually quite good and very exciting to watch. Fosse is not easy by any means. It is precise, and every detail must be clean. She had to audition for the role; it was not automatically offered to her. This was a major challenge for her, and she took it on with full force. The outcome is a wonderful success. Her finest musical numbers are "Roxie," "We Both Reached For the Gun," "My Own Best Friend" and "Me and My Baby."

Rinna is a very beautiful woman with one hot body; the air of luxurious femme fatale fits perfectly with her characterization. But in the final scene before "Nowadays," she shows great hurt and pain at the outcome of her trial - completely ignoring her husband's pleas and affection. It's intimate and deeply moving. Rinna is courageous to step outside of her comfort zone to tackle live theater. She comes out a big winner in this production.

Tom Wopat portrays Billy Flynn, the slick, handsome lawyer who is always looking for the media spotlight. I had the pleasure of seeing Wopat several years ago when he came through Dallas in debut performance as Flynn. Upon a second viewing, I see that he has wrapped himself completely into the characterization and is having a ball on stage with it. With a robust, melodic baritone voice that easily fills the Music Hall, Wopat works vocal magic with such hit musical numbers as "Razzle Dazzle" and "All I Care About."

Wopat is masculine and commands the stage with a strong stage presence. He has found new ways to add great laughs within his characterization. It is is a delight to see him again on stage.

Then there is Terra C. Macleod, who portrays Velma Kelly. There are hardly any triple talents left, but Ms. Macleod is just that and more! A tall, gorgeous beauty with raven hair and hypnotic blue eyes, this woman drips in sex appeal. She has the ideal dancer's body, and the stage lighting picks up every muscle contort or flex. Her body and dance technique are built perfectly for Fosse's choreography. She does every pop, every finger snap, and every leg kick with clean, precise, elegant dance. I'll bet Fosse is smiling at her from Heaven.

Macleod also has a terrific, booming set of pipes that does magical wonder with her solos. She adds sustaining notes and vocal inflections to the songs for delectable life and energy. Listen to those shimmering vocal cords create musical gold with such songs as "All That Jazz," "Cell Block Tango," "My Own Best Friend," "Class" and "Nowadays." She attacks every musical number with great gusto and commitment, turning "I Can't Do it Alone" and "When Velma takes the Stand" into major showstoppers. She is phenomenal in this production.

I saw the always reliable Carol Woods bring the house down on Broadway in the 2001 revival of Follies with her powerful voice in the number "Who's that Woman?" and I have seen her twice before as Matron Mama Morton, and the girl still brings the house down. She has taken a completely new approach to her big solo, "When You're Good to Mama," that is just magnificent. She has added some vocal riffs and an amazing modulation at the end that had the audience roaring with approval. Woods also provides some fun laughs with "Class," which again shows why she continues to deliver scene-stealing performances.

Rounding out this terrific company are outstanding performances by Eric Leviton as Amos Hart; Ashley Yeater as Hunyak (the "Not guilty" cellmate); and R. Bean, who has one hell of an operatic soprano voice, as the gossipy reporter Mary Sunshine.

There is a Dallas Texas native in the company, Kevin Steele. Mr. Steele was an elementary teacher in Plano who now has gone on to work in such national tours as The Producers and The Best Little Whorehouse in Texas with Ann-Margret. Steele is a perfect example of the kind of superb talent we have here in the metroplex. The tall, handsome blond dances beautifully and has some great comedic fun with his cameo roles as Sergeant Fogarty and The Judge. It is a pleasure to see our own shine brightly in national tours, and Mr. Steele does just that.

This review would not be complete without offering kudos to a group of individuals who steal the show - the ensemble of Chicago. They are the steel girders on which this musical rests night after night. Normally, by now, road companies like this are bored to tears, and you can literally see them going through the motions. Not this awe-inspiring ensemble. Their energy is completely infectious. They dance with eye-blinding and never-ending energy, commitment and technique - you would think it was their first opening night ever. And by the way, they are all gorgeous: muscled studs and hot mamas all dressed in tight, sexy, black costumes that show every muscle.

The cell block tango girls have a comedic field day with their number. Each girl takes a unique approach to those oh so familiar lyrics and dialogue and turn the number into a fantastic, new and hilarious showstopper. The girls deserve to be mentioned: Nicole Bridgewater, Ivy Fox, Theresa Coombe, Ashley Yeater, and Jill Nicklaus.

The men in the ensemble provide superb work on stage as well. David Bushman, Stephenos Christou, and Eric McMillan-McCall do an exquisite tap dance that is an homage to the great Fosse. They wear the trademark bowler hats and smoke cigarettes, all bathed in white lighting. If you are familiar with Fosse, the man always had a cigarette dangling from his lips as he choreographed. John Carroll and David Bushman (this guy is one hellof a dancer!) frame Lisa Rinna like two Greek statues for the number "Me and my Baby." Both dance wonderfully and bring Fosse's dance to vivid life.

One of the best things about live theater expecting the unknown. Christophe Caballero portrays The Jury in the second act. This role requires the actor to become several members of the jury, both male and female. Caballero is hilarious with the character detail he adds to each role. But then he does a down-right hysterical line reading that had the audience roaring in laughter. It even made Tom Wopat break character and start laughing. Excellent work, Caballero!

The other talented ensemble members who put this production in the success column includes Kevin Neil McCready, John Carroll, Kevin Steele and Kelly Crandall.

I have now ten Playbill programs as proof that I have seen Chicago that many times. And I still love it - from the new interpretation of the material to that sublime Kander and Ebb score, and most importantly, the brilliance of Fosse's choreography.

For those who have never seen it, you need to see this production. If you've seen it before, it still deserves a second or third viewing. It's that good.

Chicago plays through June 17th at the Music Hall at Fair Park. Single tickets, ranging from $32-$75, are on sale now at The Box Office, 542 Preston Royal Shopping Center. Tickets may also be purchased at area Ticketmaster outlets, or by calling 214-631-ARTS, and are available online at www.ticketmaster.com. For groups of 20 or more, call 214- 426-GROUP.

Chicago National Tour
Book by Fred Ebb & Bob Fosse
Music by John Kander. Lyrics by Fred Ebb

--John Garcia