Book by Fred Ebb and Bob Fosse; music by John Kander; lyrics by Fred Ebb; original production directed and choreographed by Bob Fosse; based on the play by Maurine Dallas Watkins; production stage manager, Jason Hindelang; musical director, Ken Clifton; set coordination by Joe Spratt and Geoff Dolan; costume design by Scott Anderson; hair and makeup design by Emilia Martin; lighting design by Richard Latta; sound design by Jeremy Oleksa; direction and choreography by Gerry McIntyre
Cast in order of appearance:
Velma Kelly, Rachelle Rak; Roxie Hart, Angie Schworer; Fred Casely, Scott Ahearn; Amos Hart, Paul Kreppel; Sergeant Fogarty, Foreman, Rod Roberts; Band Leader, Ken Clifton; Liz, Kisa Willis; Annie, Shawna Walker; June, Jaclyn Miller; Hunyak, Jillian Helms; Mona, Meghan Starr; Matron "Mama" Morton, Sally Struthers; Billy Flynn, George Dvorsky; Mary Sunshine, A. W. Marks; Go-to-Hell Kitty, Hillary Elliott; Harry, Steven Wenslawski; Doctor, Martin Harrison, Mark DiConzo; Aaron, Alex Nordin; Bailiff, Court Clerk, Patrick Lavallee; The Judge, Ivory McKay
Performances: Now through October 24, Ogunquit Playhouse, Route 1, Ogunquit, Maine.
Tickets: $49 to $67, available online at www.ogunquitplayhouse.org or at the Box Office at 207-646-5511.
The Ogunquit Playhouse in Ogunquit, Maine is bringing a banner season to a close this fall with yet another crowd-pleasing musical, Chicago, 
performing now through October 24 at the 78-year-old seacoast landmark. This high-energy, high-kicking production, which borrows its lean and mean staging from the long-running revival that is still heating up Broadway, features a very strong and personable cast that in some cases out perform their counterparts from the national tour that came through Boston a couple of years ago.
Most notable in that department is George Dvorsky as Billy Flynn, the fast-talking "mouthpiece" of a lawyer whose ability to razzle-dazzle juries and the press makes him the go-to guy in Prohibition Era Chicago for a bevy of beautiful murderesses potentially facing death row. Dvorsky slithers across the stage with a 100-watt smile and a neon twinkle in his eye, epitomizing the celebrity legal eagle who cares more about his own untarnished record of acquittals - and his $5000 fee - than he does about justice or the guilt or innocence of his clients. When he sings "All I Care about Is Love" surrounded by breathless and writhing chorus girls, you know he doesn't mean it, but you buy his sound bite anyway. He's that charming.
Billy's biggest headline-grabbing star defendants du jour are the hard-bitten "veteran" double murderess Velma Kelly (a dynamic Rachelle Rak) and the newest media darling and challenger to Velma's throne, Roxie Hart (the irresistible Angie Schworer). 
Together Rak and Schworer deliver a one-two punch that makes this production of Chicago really sizzle. Rak throws herself into her tour de force number "I Can't Do It Alone" and leads a cohort of angry lady killers in an exhilarating "Cell Block Tango" (he had it coming). But it is Schworer who ultimately works her way into your heart by revealing the dashed dreams of a once naïve young wannabe who over time has replaced real warmth and sincerity with a cold heart and a superficially sweet veneer. When she takes the solo spot and delivers a sparkling "Roxie," she uncannily evokes the vocals and the mischievous spirit of the role's originator Gwen Verdon. She also exudes the confidence and sex appeal of Jane Krakowski, an actress she strongly resembles. Schworer is not the classically petite and innocent Roxie we have come to expect in Chicago, but she winningly makes the role her own.
