Book: Fred Ebb & Bob Fosse
Music: John Kander
Lyrics: Fred Ebb
Writer: Maurine Dallas Watkins
Adaptor: Bob Fosse
Director: Walter Bobbie
Murder has never been so sexy…
Like a night out at a West End theatre, this production of Chicago is relentlessly fiery, effortlessly seductive, and visually stunning. Balancing fan-favourite songs with ingenious staging and breathtaking dance routines, this production is an unmissable show for first-time theatre-goers and die-hard musical theatre fans. If you’re a fan of the film, this show won’t be what you’re expecting, but if you keep an open mind, you’ll soon find out it’s far better.
Set in 1920s Chicago, the story follows Roxie Hart, a wannabe starlet who lands herself in Cook County jail after murdering her lover. Roxie claws her way into headlines, finally making a name for herself, but her newfound stardom will all be for nothing unless she can walk away ‘not guilty’ with the help of misguided lawyer Billy Flynn.
Each act begins with a surge of energy, the conductor himself bounced on the spot, eager to get started, and the music isn’t the only thing sustaining this upbeat tempo. The perfect balance between the actors’ excellent comedic timing and the hypnotic, sultry, and at times acrobatic choreography keeps audiences hooked.
Unlike the beloved 2002 film, there are fewer dramatic scenes between songs, which also keeps the pace fast. If you are unfamiliar with the stage version of Chicago, you can expect the show to feel very minimalist and like a series of monologue-style songs at first. Though this is a change for film fans, you can rest assured this show is never lacking in story or spectacle.
The set for the entire performance is a bandstand with a central staircase running down it. The band can be seen playing the show’s iconic score throughout, adding flares and engaging with characters, becoming a member of the cast itself. The production’s iconic numbers, Cellblock Tango, We Both Reached For The Gun, and Razzle Dazzle didn’t disappoint. They were staples to the show, and they weren’t afraid to be inventive with the use of ladders at the wings of the stage for extra height and dimension, while also sticking to crowd-pleasing choreography like the famous ventriloquist doll sequence in We Both Reached For The Gun.
A defining feature of the show was its magnetically seductive feel; ensemble dancers wore black transparent lingerie, the vocalists crooned to the crowing sounds of the jazz age brass band, and the lighting draped over the dancers’ bodies- this show is laced with allure. It’s a tantalising, sensory-rich production, from the use of cloudlike ostrich feather fans in All I Care About for Darren Day’s introduction as Billy, to the soft rainfall of glittering confetti in Razzle Dazzle. It’s a feast for the senses.
The show’s lighting, designed by Ken Billington, is what gives it an expensive West End feel. Lone lightbulbs come down to illuminate the Cellblock Tango, giving it its iconic framing of the dancers. Red, Green, and Purple lights warp the figures on stage for Razzle Dazzle, giving it its circus-like feel. Red soaks the stage to accent the violent scenes in the show, drenching the actors in a bloody light. Manually moved spotlights give the show an authentic 1920s jazz club feel. Every detail feels purposeful yet in-keeping with the stylish minimalism of the show.
Janette Manrara delighted fans as Roxie Hart, with effortless stage presence, comedic delivery, and fluidity in her dancing. The former Strictly pro makes each dance look so natural it’s like the movement is pouring out of her skin. She inhabited the role of Roxie as a cold-blooded and narcissistic murderess who you can’t help but root for. Manrara is equally matched in stage presence with her double act, Djalenga Scott as Velma Kelly whose raspy low voice packs a punch, letting you hear Kelly’s stunning vocals the way they should be heard.
Chicago’s beloved reputation in musical theatre precedes it, that much was obvious from how packed the theatre was with fans. Hushed audience members sang the opening lines of All that Jazz under their breath with Scott and Joshua Lloyd as Amos Hart got several awh’s of sympathy from the audience. Chicago isn’t usually a show which warrants audience feedback, but the way this show captivates its audience is palpable. It’s a challenge to not be fully consumed and immersed by this show.
This is a must-see production. It’s a rare moment in musical theatre where everything aligns and the music, drama, and dance are not only entertaining but enthralling and addictive to experience. You’ll be sad you only saw it once.
Runs until 26 July 2025
