The splashiest number in the long-running Broadway musical Chicago is all about the art of the hoodwink. “Razzle dazzle ’em / And they’ll make you a star,” the lyrics promise. In the story, it’s 1920s murderers Velma Kelly and Roxie Hart who are desperate to parlay infamy into fame and glory. In the current production of this gleefully cynical 1975 piece by John Kander, Fred Ebb and Bob Fosse, bouncy Baywatch star Pamela Anderson is striving for a comeback by making her Broadway debut in a two-month stint as Roxie.

This isn’t exactly a case of life imitating art, but Anderson’s career certainly derailed when the infamous sex tape of her and then-husband Tommy Lee went public in the Nineties, around the time this revival first opened. In the years since, producers have rotated famous names not known for their Broadway credentials in and out of the cast. (Christie Brinkley and Melanie Griffith are two former Roxies.)

Although not an experienced stage performer, Anderson, who spends the show in a lacy black minidress and high heels, is a better actress than she’s been given credit for. And the 54-year-old is actually well suited to the role, bringing a soft-spoken sexiness and even vulnerability to a character who shoots her lover dead when he walks out on her. Anderson also delves into Roxie’s harder edges and conceitedness when she goes to prison and manipulates press and courtroom to her advantage, as well as ably conveying Roxie’s desperation when she discovers the fickleness of fame.

Her musical skills are another story. Anderson is a decent singer and dancer who is still finding her rhythm on the stage. She knows Fosse’s steps, but doesn’t seem fully confident executing them. She does display a sense of humor about her image, though. When Lana Gordon’s determined Velma tries to persuade Roxie to replace the former’s late sister in her vaudeville act, pointing out that Roxie would fit perfectly into her clothes, Anderson gives her a questioning look and gestures to her ample bosom.

Still, Roxie is only part of a triumphant show that, like the Olivier-winning Cabaret, is a testament to the brilliance of Kander and Ebb. Chicago remains one of the smartest, snappiest musicals on Broadway. Gordon and understudy Brian O’Brien, who played Billy Flynn, the shady defense attorney who represents both women, at the performance I saw, deliver dynamic performances, as does the entire ensemble. 

But Anderson is certainly the current draw. The show played to almost 93 per cent capacity during her first week in it, up almost 22 per cent from the week before. If anyone can razzle dazzle ’em, she can.

Anderson is in the show until June 5; chicagothemusical.com