Give Michael Barnard and Phoenix Theatre credit for chutzpah: mounting a live production of a musical on the heels of a hit movie version can either be viewed as shrewd or derivative. Will audiences avoid Kander and Ebb's Chicago with a "been there, done that" attitude, or will it pique their interest and bring them in to see the original in the flesh? Considering what Mr. Barnard and his co-chorographer Robert Kolby Harper have done with this work, anyone who thinks they've been there and done that is sadly mistaken. Eschewing the revisionist and visually static staging 1996 remount, Mr. Barnard has returned the show to the Vaudeville trappings of the original, utilizing a grandly realized glitzy set by Gregory Jaye while steering clear of any specific images that would hearken back to the movie. Here is Chicago as Gwen and Chita danced it in 1975, just after Fosse returned from his near-death experience. This production is a great mixture of Messrs. Barnard and Harper's high-power interpretation of Fosse's instantly recognizable movement style, a lavishly appointed design element, and many exemplary performances blended in tune with Ron Colvard's jazz-jumping 11-piece orchestra.

Mr. Barnard has jam-packed the show with scads of darkly comedic bits and dazzling stage pictures. He has kept the show racing along at a burlesque farce pace, and he and Mr. Harper's dancing is scintillating.

While the cast isn't perfect, they are in the very least damned good and often great. Natalie Carlé Ellis and Tracy Lore are on target as Roxie and Velma. Ms. Ellis' great voice, excellent dancing, and engaging acting are mirrored step by step by Ms. Lore. They are both firebrands, acing their big numbers like "Roxie" and "All That Jazz" as well as their duets "My Own Best Friend" and "Nowadays." Dennis C. Rowland is always a treat when singing, and as slimy lawyer Billy Flynn he doesn't disappoint. While his acting and his dance moves were tentative on opening night, all was forgiven and forgotten during such numbers as "We Both Reached for the Gun" and especially the carnival-inspired "Razzle Dazzle." Terey Summers' Mama begins as an ode to Mae West, and quickly turns into a comedic showcase. She milks the audience mercilessly, and they love her for it. Jim Roehr is an understated Amos, even during his hah-chah-chah number "Mister Cellophane," but his consistent pathos balances the over-the-top elsewhere. L. Goodrich successfully belts the Mary Sunshine role.

The Merry Murderesses (April Monte, Shawna Quain, Elizabeth Reynolds, Meigan Stack, and Alessia Thompson) are a sexily slinky bunch. There is not a misstep among them, and their "Cell Block Tango" is equal parts engaging and disturbing. The boys are all on top of their performances, although I must note that though Mr. Harper's sly antics are always a joy to watch, he steals much too much focus while playing every member of the jury, and I also can't imagine there would have been so many, if any, women composing a Roaring Twenties Chicago jury.

Mr. Jaye has provided a meticulously black and chrome Art Deco-infused playing space flanked by Erté-inspired silhouettes, one that successfully mixes three revolves, two moving curved stairways, and a platform for the band to look over the proceedings. The result is so much more engaging than a simple bandstand as the revival offers. Michael Eddy's show-biz lighting is all sharp angles and saturated colors. Gail Wolfenden-Steib's costumes are naughtily chosen and well integrated into the show. David Temby's sound design is effective from start to finish.

Mr. Barnard once again scores high with the components of a product, although this time he has the fortune to have them supporting some excellent material. Some may call this work too dark or too oppressive, but then, that's Chicago, ain't it?