'Chicago' maintains razzle dazzle in Windy City return

Could it be that the hard-edge elbows of the hit musical “Chicago” have gotten even sharper? Let's just say that recent political events have made the musical's enduring seductive charms all the more chilling.

The smash 1996 Broadway revival touring again through Sunday at Chicago's Cadillac Palace Theatre is essentially the same well-oiled and crowd-pleasing machine it's ever been. That's especially true since so many of the tour's reliable stars have played these roles here before. That includes Terra C. MacLeod as killer vaudevillian Velma Kelly, Roz Ryan as the calculating Matron “Mama” Morton and John O'Hurley as money-loving lawyer Billy Flynn.

At its 1975 Broadway debut, many critics and audiences found “Chicago” to be too cynical and angry with its look at how accused murderers can become media celebrities. And at times, it's uncomfortable cheering on crooked characters, most of which are eager to manipulate the media and the American public. But following the 1990s media-circus murder trials of the Menendez Brothers (who were convicted) and O.J. Simpson (who was not), the musical by the late director/choreographer Bob Fosse and songwriters John Kander and Fred Ebb felt like the perfect artistic response.

The re-creation of Walter Bobbie and Ann Reinking's Tony Award-winning direction and choreography are respectively on point by director David Hyslop and choreographer David Bushman, even if some of the performances might not be as memorable or technically refined as in previous tours. O'Hurley flubbed a lyric and broke character to laugh at Tug Watson's Jury on opening night, though he otherwise oozed the necessary leading-man suavity of Billy Flynn. And as the ever-optimistic reporter Mary Sunshine, D. Ratell's feminine voice didn't scale the operatic heights as well as others in the role.

As the murderous anti-hero Roxie Hart, however, Dylis Croman is downright entertaining, and her acting and dancing are highlights.

By now nobody should complain about John Lee Beatty's stark bandstand set, since it showcases an amazing onstage jazz band led by music director Rob Bowman. The production's minimal approach also allows the shapely chorus in costume designer William Ivey Long's seductively clingy lingerie to become the show's leggy scenery (especially under the smokey film-noir lighting designs of Ken Billington).

The fact that “Chicago” has become the longest-running American show in Broadway history mirrors our country's celebrity-obsessed culture, which is growing even more virulent in the age of social media. But maybe now audiences will question why they're offering up ovations for the musical's shameless vulgarians, who proudly boast to be “the living examples of what a wonderful country this is.”