Hard to believe that such a vibrant musical as Chicago will be celebrating its Golden Anniversary in 2025. Bob Fosse used all of his talents to create a magnificent piece of musical theatre that has evolved over the years but remains as sensual an experience as ever. Make no bones about it. This production is so hot it leaves the stage smoking.
Based on true events, Chicago tells the tale of a true phenomenon of the Jazz Age. If a female was accused of murder in 1920s not only was she – with the right connections – very likely to escape the death penalty but she would also gain a celebrity status that would be the launch pad to a career in variety.
Velma Kelly (Djalenga Scott) is typical of the accused of the time. She has caught the eye of Matron Mama Morton (Sinitta Malone) who – for the right backhander – has put her in the hands of local lawyer Billy Flynn (Kevin Clifton) who is yet to lose a case and a vaudeville tour awaits her on her acquittal.
Unfortunately, Velma is to discover that fame can be very fleeting and a new girl on the cell block is about to take her place as leader of the gang.
Roxie Hart (Faye Brooks) has a very loving if weak husband in Amos (Joshua Lloyd) but this has not prevented her from taking a string of lovers. The latest of these is Fred Causeley (Josh Crowther) who is shot after a lovers’ tiff but fortunately for Roxie she is quickly adopted by Morton who persuades Flynn to take her on – at the right price – as his No 1 defendant.
Kelly is more than a little put out to have her position as Numero Uno usurped but is outplayed by Hart and desperately tries to become relevant again – even attempting to turn the two prisoners into a vaudeville double act.
However Hart is confident that the back story built up for her is more than good enough for solo success and – using her womanly wiles – will melt the heart of the most unsympathetic juror. With sob-sister Mary Sunshine (Jordan Lee Davies)) leading the case for the defence in the press pack, will Flynn be able to create courtroom magic once again. And does a successful showbiz career await Roxie?
So what makes Chicago a must-see musical? Well a fabulous score and choreography are just the start. From the opening number All That Jazz the audience are entertained by slick movement and fine vocals and this continues throughout the evening’s entertainment. Many of the numbers are well-known and were greeted by loud applause from a highly-enthusiastic audience.
There is also the beautifully novel experience of having a live band under the direction of Neil McDonald on stage and this allows the action to be presented as a nightclub show with each scene introduced as a different act.
The key part of the entertainment is the great job done by the casting team. Scott and Brookes are reprising their roles and they fit into them like a hand in a glove. Scott is a beautiful celebrity criminal with excellent vocal and dancing skills. Brookes wrings every ounce from her character as she displays her own singing and dancing skills but also uses her acting skills to portray vamp and victim to perfection.
Lloyd is very easy to empathise with and rightly drew acclaim for his rendition of Mister Cellophane while Davies tackles his part with gusto and aplomb.
If there are surprise packages then they come in the shape of Malone and Clifton. Sinitta is well-known for her throwaway pop hits but she shows a lovely maturity and depth to her singing and approach. I am sure that she won over many new fans with her performance.
Clifton first came to public attention as a professional on Strictly Come Dancing but he has really spread his wings since taking to musical theatre. Having worked his way through some jukebox musicals he has become established enough to become a star in the bigger musicals and surprised many with his vocals and timing. He must beware of returning to his home town of Grimsby. The trawlers will surely be hunting for a big fish like him.
Chicago truly is West End come to the Potteries. Fabulous presentation, great costumes and enough naughtiness to set the coldest heart racing.
Chicago may not be everyone’s kind of town but it is certainly my kind of musical theatre. Catch it while you can.
The production has a running time of approximately 2 hours 20 minutes including interval and continues at the Regent Theatre until November 30th. For ticket information contact atgtickets.com/stoke
