‘Chicago’ at Fort Worth’s Bass Hall dazzles with glitz, glamour, breathtaking music

The roaring 20s — 1920s, that is — roared loud in the city of Chicago. From magical music to murder, it was all there, often found in one instant and lost in the next thanks to a new sensation or scandal.

And, as indicated in the musical production of “Chicago,” the latest production of Performing Arts Fort Worth’s “Broadway at the Bass” series presented by PNC Bank, they were many times one and the same. The touring version of the longest running musical revival and American musical in Broadway history (since 1996) is only at Bass Performance Hall through Sunday, May 12, but it’s certainly worth a quick change of plans to catch while it’s here.

Set amid the jazz age in America’s Windy City — believed by many to be named for its loquacious politicians — this show is the epitome of such a reputation and everything you’d want a Broadway musical to be. It has glitz, glamor, breathtaking musical numbers and a timeless story of fame, fortune and the fleetness of both that also poses the question of whether justice can still be found in the bright lights and loud cheers of celebrity.

One of the show’s more popular songs, “Razzle Dazzle,” sung by slick lawyer Billy Flynn (Connor Sullivan) even has lyrics “How can they hear the truth above the roar?” It’s a reference to how celebrity status can change guilt to innocence for no other reason than popularity.

And it’s all deliciously over the top in a way the legendary Bob Fosse, who choreographed the original 1975 musical version (starring Liza Minelli as Roxie), would love. In fact, he’s honored with his original dance moves on display in the show’s capping number, “Hot Honey Rag,” performed by the show’s two stars, Velma Kelly (Kailin Brown) and Roxie Hart (Katie Frieden).

The musical is based on a play of the same name by reporter and playwright Maurine Dallas Watkins, who covered the 1924 trials of accused murderers Beulah Annan and Belva Gaertner for the Chicago Tribune. During that time period several high profile cases of women killing — mostly their lovers or husbands — grabbed headlines, particularly the rash of acquittals that usually followed.

It was widely believed that because juries at the time were all male, attractive women could escape conviction.

Annan was the role model for Roxie and Velma is based on Gaertner. Flynn is a composite of lawyers William Scott Stewart and W.W. O’Brien.

Watkins wrote a play based on her columns that was the original non-musical version of the show, It ran on Broadway in 1926 before later becoming a silent film directed by Cecil B. DeMille.

Roxie, a chorus girl, is sent to prison after shooting and killing her lover as she tries to break off their affair. There, she meets Velma, a vaudevillian who is in for murdering her husband and sister after catching them in an affair.

The appearance of Roxie puts a crimp in Velma’s plans to get out with the help of Flynn and prison matron Mama Morton (Illeana “Illy” Kirven), both of whom value money more than any amount of integrity. And when Roxie hires Flynn, Velma — who had been splashed all over the papers — becomes yesterday’s news as Roxie begins grabbing headlines.

And just when it seems Roxie might be losing her grasp on the top of the page, she comes up with a new plan. She claims to be pregnant, but whose baby is it? Her loving and loyal husband Amos (Robert Quiles) or her lover’s?

Not that it matters to Flynn, who sees an opportunity to gain more pity from the jury for his client, even as she fools him along with everyone else.

An interesting twist at the show’s end reverts us back to just how up, down and up again life in and out and in the instant (and in this case criminal) celebrity spotlight can be.

From the opening number, “All That Jazz,” performed in sizzling style by Brown, the audience is hooked. And when Frieden follows a scene later with “Funny Hunny,” it instantly becomes clear who are the stars of the show.

Whether together or apart, their presence onstage is exuberant with an energy that defines the entire production, whether they are singing/dancing or not. And when they deliver “Hot Honey Rag” together at the show’s end, it made me wish the show had another half hour to go.

But there’s a lot more to enjoy than the two stars. For example, Kirven’s rendition of “When You’re Good to Mama” is one of the show’s more popping scenes, and her duet of “Class” with Brown runs the gauntlet from sad to funny.

Sullivan performs “Razzle Dazzle” with just the right mixture of slickness and suavity, accentuating all his character exhibits in the courtroom. And Quiles’ delivery of “Mister Cellophane” — arguably the show’s most morose number — is worthy of a tear or two of pity for the husband used over and over by Roxie.

It’s easy to see why the show is approaching almost 11,000 performances on Broadway. Along with the greatness of the music and choreography, the story itself stands strong.

And while it’s not here for long, it has graced Fort Worth this weekend.

‘Chicago’

At Bass Performance Hall, 525 Commerce St., Fort Worth

Saturday, May 11, 1:30 p.m. and 7:30 p.m.

Sunday, May 12, 1:30 p.m.

Running time: 2 hours, 20 minutes with one intermission.