Jazzy ‘Chicago’ opens new venue for Dingbat Theatre Project

In the few shows that Dingbat Theatre Project produced since its start two years ago, the company often evokes the spirit of the old Mickey Rooney and Judy Garland movies where someone shouts, “Hey kids, let’s put on a show.”

Suddenly, in the most unexpected places, a well-performed musical appears with more elaborate props, sets and costumes than you might expect.

That vibe continues with Dingbat’s latest production, John Kander and Fred Ebb’s musical “Chicago,” a show that is nearing the 50th anniversary of its 1975 Broadway debut, even as a 1996 revival continues into its 27th year.

This production also launches a new venue, a performing arts theater on the growing campus of the Loveland Center in Venice. It has been transformed by scenic designer Gretchen Beaumier into a low-key speakeasy with a T-shaped runway extending from the stage to bring the actors just inches from some audience members. You might get swatted with a feather fan.

The design fits a show set in 1920s Chicago, where murder trials become spectator sports and the women charged with killing lovers who spurned them can become vaudeville stars.

The production features a host of Dingbat regulars, including the co-founders and co-directors Luke Manual McFatrich as prison matron Mama Morton and Brian F. Finnerty (who also choreographed and designed the costumes) as the successful if slimy attorney Billy Flynn.

While the directors tend to favor a broad, over-the-top style, the production has great energy and some heart, particularly from the radiant Tahlia Chinault, who really makes you care about Roxie Hart, a married woman who kills her lover when he tries to walk out on her.

Roxie knows how to play people for what she wants, and Chinault nicely dances along the line between villain and victim. You root for her all the way as she aims for as much publicity as she can get from her trial to launch her performing career. And she is a terrific dancer.

Roxie is competing for attention with Amanda Heisey as the bitter and jaded Velma Kelly, who has seen other Roxies come and go while she waits for her trial. Heisey brings a strong intensity to her performance from the opening “All That Jazz,” but she often seems more angry than anything else (there is not a lot of shading in the performance), which makes it harder to feel for her situation.

Kelly Leissler Jr. is charming as Roxie’s supposedly invisible and dim-witted husband, Amos who laments how people don’t notice him in “Mr. Cellophane.” Finnerty is particularly smarmy as Billy manipulates his clients and juries while singing “All I Care About is Love” and “Razzle Dazzle.”

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The show plays with gender portrayals through makeup and lingerie-inspired costumes in black and red, and that extends to two of the major supporting characters. Luke Manual (he drops McFatrich as a performer) brings a big, booming voice to his performance as Mama, but he occasionally pushes too hard to impress when a touch more subtlety might have a stronger impact during “When You’re Good to Mama.” Cory Woomert plays the highly emotional reporter Mary Sunshine with conviction and strong use of his falsetto voice.

The cast is supported by musical director and pianist Michelle Kasanofsky and drummer Joel Broome, who don’t overwhelm the singers who are not using microphones. You might wish for a brass instrument on occasion to better fit the jazzy score.

With that “we can do it” attitude, this production all comes together with fun songs, lively dance routines, and humor to create an engaging evening that also may introduce many people to the services that Loveland Center provides people with intellectual and developmental disabilities.

‘Chicago’

Music by John Kander, lyrics by Fred Ebb, book by Fred Ebb and Bob Fosse. Directed by Luke Manuel McFatrich and Brian F. Finnerty. Reviewed July 20. Through Aug. 6 at Loveland Center Venice Campus Performing Arts Theatre, Building A, 157 S. Havana Rd., Venice. $25. A speakeasy package including reserved, premium seating, champagne and more are $40. dingbattheatre.org

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This article originally appeared on Sarasota Herald-Tribune: Lively Dingbat Theatre ‘Chicago’ brings jazz age to new Venice venue