Paul Kolnik Velma Kelly, center, played by Terra C. MacLeod, and the Merry Murderesses kick up their heels in "Chicago."

In this era when Americans are both obsessed with celebrities and absolutely driven to become famous (or notorious -- it often doesn't seem to matter which) "Chicago: The Musical" has never seemed more timely.

It's hard to beat the electrifying combination of the jazz-age tale of murderous, conniving showgirls and their slick lawyer, the irresistible Kander and Ebb songs, and the whole Fosse choreography package of tight, skimpy black costumes, hats, hosiery and writhing bodies.

		Chicago Where: Broadway series at Heinz Hall, Downtown. When: tonight 7:30; Fri. 8 p.m.; Sat. 2 and 8 p.m.; Sun. 1 and 6:30 p.m. Tickets: $20-$58.50; 412-392-4900 or www.pgharts.org.

But the best part about the PNC Broadway Across America - Pittsburgh production that opened Tuesday night at Heinz Hall is simply how much fun it is.

The murder that provides the plot's starting gun is almost lost in the exuberant surging of the lithe ensemble, all feline athleticism, taut muscles and sly smiles. There's always something deliciously worth watching going on around the principal performers.

But it's hard to take your eyes off them.

Terra C. MacLeod's Velma Kelly is tough but brittle, all cheekbones, nervous energy and rough edges. Her powerful, slightly throaty voice caresses "All That Jazz" and pleads "I Can't Do It Alone." MacLeod dances masterfully on the fine line between cynical swagger and desperation.

Michelle DeJean as Roxie Hart is all curves to Velma's angles, and she develops throughout the show into a giggling, grasping bundle of energy and cupidity. Her dancing combines the requisite precision and athleticism with spirit that really shines in the "We Both Reached for the Gun" ventriloquist press-conference number. The red hair and flair for physical comedy reminded me of Carol Burnett.

DeJean describes Roxie in her bio as "the role she adores above all others," and it shows. Her "Roxie" is lavishly libidinous, and yet she can blow an expressive raspberry with impeccable timing.

The most recognizable names in the show are those of Gregory Harrison as attorney/ringmaster Billy Flynn and Melba Moore as Matron "Mama" Morton. Harrison is dapper, charming and has a rich and pleasing if not powerful voice. Melba Moore looked slightly nervous opening night, but her singing is soulful and mesmerizing.

It would be a crime not to toast Eric Leviton as hapless, shapeless Amos Hart; he nails the lovable pathos of "Mister Cellophane" and makes the sad clown balancing act look effortless. And R. Bean's Mary Sunshine is full of surprises and gloriously over the top.

The orchestra does its central, showcase location proud, and the set and production are clever and appropriate.

Crime and punishment have never been such a good time.

'Chicago'