chicagomcchorus At first glance, it was uncertain whether an intimate space like the Maverick Theatre would be the right fit for a grandiose show like Bob Fosse’s Chicago. But the ideal pairing of this quaint, cabaret-style venue tucked away amid the bustle of downtown Fullerton with a performance showcasing the razzle-dazzle of all that jazz has to offer soon became obvious.

An intoxicating ambiance surfaced before curtain while audience members mingled at the bar greeting each other with familiar smiles, a real community space. And as the lights dimmed, this initial atmosphere carried through into the performance, where the marriage of space and production shone through, thus bringing an era back to life.

Set in 1924, Chicago revisits the Roaring Twenties, when prohibition, infidelity, and a fever for stardom thrived. The play is centered around Roxy Hart, a seemingly innocent mechanic’s wife, who cheats on her husband with their furniture man. Then one evening, in a passionate rage, she shoots her secret lover and is consequently dragged off to jail. In a desperate attempt to regain her freedom, her true manipulative and selfish nature cannot be concealed.

Jenny Swoish, cute as button, portrayed a riveting Roxy with polished nuances of character nuances that compelled the audience to love and hate her at once. Her vocal superiority reigned supreme in several musical numbers, but most notably in “Funny Hunny.”

chicagoroxie However, Swoish shone the brightest when paired with Erica Bowers, Roxy’s sultry cell-mate, Velma Kelly. The union of Bowers’ smoky quality and Swoish’s brilliant tone made the vocal blend irresistible in “I Can’t Do It Alone.”

Although Bowers is undoubtedly a standout, throughout the evening she seemed to lag behind her counterpart, due to a lack of consistent vocal energy and commitment.

Other prominent performances included: Michael Keeney as the M.C. whose explosive presence drove the plot, and Mia Chiaromonte as Liz/Go-To-Hell Kitty, whose few moments were exceptionally memorable and professional.

Speaking of seasoned veterans, R.C. Sands fiercely portrayed the tenacious-yet-sympathetic tabloid columnist, Mary Sunshine. The stellar countertenor effortlessly held the audience in stitches, thus bringing to the production an expertise more commonly found on New York stages.

However, the performances were spoiled at times by a poor sound system and repeated microphone distortion. These problems were among several technical and performance aspects of the show that undermined the work of the production’s best actors.

Dancing and choreography lacked the presence expected for this type of musical, especially in an uneventful “All That Jazz.” However, the small space and minimalistic set were used effectively to enhance the choreography in the infamous “Cell-Block Tango” and “Razzle Dazzle,” bringing the space back to life.

Meanwhile, a number of performers lacked the grace of the experienced veterans, a disparity which prevented the production from measuring up to the quality of most regional theatres in the area.

Overall, despite its pitfalls, the Maverick can be counted on for an enjoyable evening full of community entertainment. The remaining shows in their current season include, Get Smart and the annual Night of the Living Dead in October.

CHICAGO STAGED CINEMA PRODUCTIONS • THE MAVERICK THEATRE • 110 E WALNUT AVENUE • FULLERTON 92832 • 714.526.7070 WWW.MAVERICKTHEATRE.COM • FRI-SAT 8PM; SUN 4PM• GENERAL ADMISSION $25; STUDENTS $15• THROUGH JULY 30