O'Hurley headlines 'Chicago' tour

TV audiences know silver fox John O'Hurley from his stints as J. Peterman on “Seinfeld,” from the inaugural season of “Dancing with the Stars” in 2005 and as the host of “Family Feud” from 2006 to 2010. But for theater fans, Hurley is known for being one of a long line of celebrities who have successfully stepped into the smash 1996 Broadway revival of the musical “Chicago.”

O'Hurley is the headlining celebrity in the nine-city national tour of “Chicago,” which returns to its namesake town for an eight-performance run at the Oriental Theatre starting Tuesday, June 7. O'Hurley also appeared at the same venue in the same show in early 2009.

Now the longest-running revival in Broadway history, “Chicago” has succeeded in part because its savvy producers regularly sign up celebrities to do stints on tour and in the New York production.

O'Hurley points out that “Chicago” can accommodate a wide variety of talented performers thanks to the show's vaudeville structure originally created by legendary director/choreographer Bob Fosse with songwriters John Kander and the late Fred Ebb.

“You kind of bring to the table what you're good at, and they structure the show accordingly,” O'Hurley said during a telephone call from the tour's launch in Detroit. “If someone is a phenomenal dancer, they'll add in more room for dancing. If someone's a great singer, they'll rework some of the music to allow for that.”

O'Hurley plays slick lawyer Billy Flynn, a role the late Jerry Orbach originated on Broadway in 1975 and later played in the Academy Award-winning 2002 film version by Richard Gere.

“He's a fascinating character to play, and you have to play him for what he is,” O'Hurley said about the avaricious lawyer. “He just loves what he does. He may not be the best lawyer, but he's the fastest one to think on his feet.”

So does Hurley model his performance of Billy from any of his former agents or lawyers?

“No, this one's just inherent,” O'Hurley said with a laugh.

O'Hurley also credits the success of this “Chicago” revival to its stark appearance that forces audiences to focus on the show's sarcastic material.

“It's all in the strength of the dialogue, the choreography and the music,” he said. “I think that's why audiences really take to this version, because it really works their imagination.”

And what about people who carp about the scantily clad ensemble standing in for the production's lack of physical scenery?

“Well,” O'Hurley said, “there's certainly something to be said for black lingerie.”