A & E

Last year, the 1996 revival production that's still playing there marked its 10th anniversary. And every couple of years, the Kander and Ebb musical makes a return visit to Pittsburgh.

The national touring company of "Chicago" has returned again through Sunday at Heinz Hall as a non-subscriber presentation of the PNC Broadway Across America -- Pittsburgh series.

Yet time and familiarity cannot diminish the appeal of this dark, complex and thoroughly entertaining musical.

The show's chief virtues are its sophisticated score by composer John Kander and lyricist Fred Ebb, its crisp and precise Bob Fosse choreographic moves and its reproachful look at American media, justice and celebrity worship.

Even as you're smiling at Ebb's clever lyrics, Kander's infectious tunes and the sardonic wit of Ebb and Fosse's script, you're also appalled at the musical's underlying message.

It's the tale of a couple of women who, with the help of their fast-talking, money-hungry lawyer, literally get away with murder by manipulating public opinion. It's based on an actual murder case that took place in Chicago in the 1920s.

But it's not difficult to draw parallels to any number of current events.

With the onstage orchestra taking up most of the playing space, there's little room for John Lee Beatty's scenery, which -- except for some enormous feather fans and a few chairs -- is limited to black drops and a couple of side ladders all placed within a gilt-encrusted picture frame proscenium.

Ann Reinking's original choreography for the 1996 Broadway revival draws directly on Fosse's signature moves and postures, which the cast executes pleasingly in Reinking's renditions of "Cell Block Tango," "Razzle Dazzle" and Fosse's original choreography for "Hot Honey Rag."

William Ivey Long's costumes are also almost entirely and elegantly black, and spare to the point of skimpy suggestiveness, especially when it comes to the women.

The cast of 22 was clearly chosen first for their dance and vocal prowess, with acting skills as a lesser consideration.

Heading up the cast are Terra C. MacLeod and Michelle DeJean as the unrepentant murderesses Velma Kelly and Roxie Hart, roles that each has performed in the Broadway production as well as on the road.

They dance up a storm with limber moves and sing appealingly and intelligently in solo numbers such as MacLeod's "I Know a Girl" and DeJean's "Roxie."

But their characters lack the assertion and are less complex than previous performers in those roles.

As gossip columnist Mary Sunshine, R. Bean showcases a powerful and impressive voice and a thoroughly annoying character.

Other secondary characters receive more nuanced shaping.

That's particularly true for Gregory Harrison's amoral lawyer Billy Flynn, Melba Moore's Matron "Mama" Morton and Eric Leviton as Roxie's husband, Amos, who received far more affection from the audience than from his wife.

All three are capable at delivering a song.

Harrison injects sly humor into "All I Care About," Leviton achieves abundant attention for his performance of "Mister Cellophane" and Moore demonstrates a respectable set of pipes on "When You're Good to Mama."

The production is as spare as it is dark. It's conceived more like a revue than a fully produced book musical with a realistic set.

But when it comes to song and dance, "Chicago" still delivers the razzle dazzle you expect from Fosse, Kander and Ebb.

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