Chicago, the Musical, at the Embassy Theatre in Fort Wayne made Valentine's Day Special

It's been days since we saw the musical Chicago, and we're still singing the songs from it. Who can resist "Cell Block Tango", in which the six female jailbirds line up their cane chairs and seductively sing, "he had it coming"? The libretto is so good, one ends up rooting for the murderesses. After the stories that each lady tells in her part of the song, you know their guys were just asking for it. The victims had it coming and these ladies snapped!

Chicago is a light-hearted look at the heady times of an all-American era gone by. The Jazz Age, with liquor, loose morals, and guns ablaze, is all glamorized. Dripping with sensuous choreography by the late Bob Fosse and his protégé, Ann Reinking, Chicago is luscious, lascivious, sentimental, and thought-provoking. The Broadway-style play is tons better than the movie version - of course, because it was written for the stage.

In the glorious Embassy Theatre in downtown Fort Wayne, time stands still. Two nights of the traveling production of this show seems to have sold out. It's such a joy to gaze around at the old touches restored in the theater: the art deco lighting and painted molding, plush fabrics, charming old bathrooms and fixtures. See it while you can, people - classic theatres such as this won't be around forever.

Jennifer Fouche gave a thrilling rendition of the song "When you're Good to Mama" in the role of Matron Morton. Her range, her gutteral power, her scat and vocalizing were fascinating. She held the crowd in the palm of her hand. Queen Latifa played this role wonderfully in the popular movie, but she didn't have the chops of this actress. Kudos, Miss Fouche. You rocked it.

Give 'em the old "Razzle Dazzle" was performed with great polish by the dapper Brent Barrett. I felt as though I could see his blue eyes sparkling and his white teeth glinting from Row R, more than 20 rows back. (Orchestra seats are numbered separately). I remembered how fun it was to see Richard Gere tap dance during this song in the movie version. If you like him, Q. Latifa, Renee Zellweger, and Catherine Zeta-Jones, you might want to find this film on Netflix, Redbox or your cable or satellite provider.

One of my new favorite numbers is the song "Mister Cellophane." Performed brilliantly in the film version by John C. Reilly, the versatile, chameleon-like yet underrated actor, this number is a nod to the awkward, introverted, not-picture-perfect version of so many of us in modern society who feel outcast and isolated. Reilly was buff and fit in the movie version, although he was covered in dust, hole-y gloves and oversized shoes to make him look more like a sad clown/bum/slob/working man (the character is a mechanic in the role). In the Fort Wayne production, Roxy's husband is played by Paul Vogt, who brings much nuance to the part. Unapologetically large and heavy, his bulk brings great meaning to the lyrics of this song. How can the largest amongst us in society pass by us so invisibly? How can someone so huge move around as if he doesn't exist? Obesity is a current national health crisis, yet many of the so-called obese go through their days ostracized. I love when Amos pulls on his white gloves and seemingly dances with his jazz hands in dark lighting, vaudeville style. So all-American, so poignant and so brilliant.

Needless to say, I loved Chicago, and how scenes changed on the nearly bare stage without the need for lots of props and sets. The orchestra sat in a band stand on the stage, and so was part of the show. The Embassy does a great job with concessions. Lots of snacks and drinks are available, including alcohol (maximum two drinks per customer). There are plenty of lines set up, which minimizes waiting. If you have a chance to see a show there, don't miss out. The Embassy is trending in Fort Wayne, and deservedly so, after all the effort and renovation that has gone into it. For us, it was truly a Valentine's Day to remember.