One of my favorite critics’ comments was Clive Barnes’ assessment of the score of Sondheim’s Company (and I might be paraphrasing here): “It’s the type of score that leads you to say to yourself ‘Oh, yeah?’ as opposed to ‘Gee, whiz!’”
I’m not a fan of the casting for the Chicago ensemble in this. They’re depicted as predominantly young which just wasn’t correct. Several of the male ensemble members were actually over thirty, playing members of the press, courtroom spectators and the like. And the ensemble in the episode looked racially diverse when in reality there was one African-American woman (Candy Brown, who was also given the fabulous line “And then he just ran into my knife. He ran into my knife TEN TIMES.”), one woman from Argentina (Graciela Daniele) and that was pretty much it. And why on earth did they feature two members sporting a ponytail? Chicago is set in the 1920s. One of them was a dancer seen in rehearsals and I think maybe the other guy was meant to be the conductor (musical director). Nope. The conductor/musical director was a short, balding middle-aged man named Stanley Lebowski-he can be heard saying “Five, six, seven eight!” leading into the overture on the cast album. I just didn’t get why they felt they had to do that. I realize Fosse/Verdon isn’t a documentary but come on. The least they could do was present a semblance of reality in terms of how the cast looked.
I can only guess that the reason 26 year old Juliet Brett was cast was because the most important material she’d be required to play would be in the finale when Nicole is in her early-mid 20s.