Everybody loves a little murder, adultery and corruption in the justice system, right?

If you don’t, you should, because without any of those things, there wouldn’t be “Chicago,” the spectacular Fred Ebb and Bob Fosse musical that opened at the Rupel J. Jones Theatre Friday.

The University Theatre production of the Tony Award-winning show is a triumph, thanks to the superb efforts of guest choreographer Randy Slovacek, guest director Ron Kellum and the exceptional performance of Hartleigh Buwick, musical theater senior, as Roxie.

Set in the late 1920s, “Chicago” tells the story of Roxie, a naïve woman who wants to be a vaudeville star. Instead, she finds herself jailed after murdering the man with whom she’s having an affair. But it turns out that may just be the best road to stardom.

“Chicago” points a stern finger at a society that revels in celebrity and an inept legal system with an utter inability to render justice. It’s an apt social commentary wrapped in a fantasy world of jazz, liquor, singing and dancing.

The show requires a great deal of its cast – there’s a minimal set, yet the locations range from sultry jazz clubs to a courtroom’s hall of justice. The lighting and set design were quite capable, but it’s the job of the cast to transport the audience there – and they hit a home run.

Buwick was magnetic as Roxie, and it’s a testament to the abilities of the rest of the cast that she didn’t run away with the show entirely. She disappeared into her role and showed impeccable comic timing and a strong ability to maintain character throughout her many songs. Buwick possesses a strong voice and a natural charisma that lit up the stage scene after scene.

Lindsay Schwak, musical theater junior, overcame some vocal problems early on and thundered back with an extremely strong second act as Velma, the starlet upstaged by Roxie. It’s one of the most difficult roles in the show, and Schwak struck just the right balance of venom and pathos.

Joel Ingram, musical theater junior, seemed effortlessly comfortable as Billy Flynn, the silver-tongued lawyer hired to do what it takes to get the girls off. Along with Buwick and Schwak, he rounded out a trio of leads who performed with conviction and strength. The three achieved the flash and razzle-dazzle that a show like “Chicago” deserves.

But in “Chicago,” it’s the supporting ensemble cast that provides the essential foundation for the stars to shine. Each member of the ensemble plays multiple parts, and armed with the impressive choreography of Slovacek, they gave the show its solid foundation.

Special mention has to be given to Connor McCollum, University College freshman, for his surprising turn as Amos, Roxie’s bumbling husband. In many ways it’s a thankless role, but McCollum was genuinely affecting and displayed a powerhouse voice I didn’t see coming.

Elsewhere, Christopher Rice, musical theater junior, was hilarious in one of his ensemble roles as a juror. His character-switching, gender-bending scene was one of the funniest of the entire show.

“Chicago” is an ambitious production, and the constant stream of singing, dancing and comedy it requires would be absolutely flattening to an unprepared cast, regardless of its abilities. But these cast members did more than tread water – they owned the show through and through.

The astonishing success of the University Theatre production owes a lot to the preparation guest director Kellum clearly brought to the show, loading the bright cast up with an arsenal of ammunition and allowing them to blow the ceiling off.

— Dusty Somers is a journalism junior.