Book: Bob Fosse and Fred Ebb
Music: John Kander and Fred Ebb
Director: Walter Bobbie (recreated by Tánia Nardini)
For a musical set in the 1920s, originally produced in the 1970s and very effectively revived in the 1990s, the satire of Chicago has never felt sharper. With the internet exploding over the questionable actions of Luigi Mangione, the current proliferation of true crime documentaries and podcasts, and whatever is happening with US politics at the moment, a story of fake news, sensationalising murder, manipulating the legal system, and celebrating criminals is depressingly relatable in 2025. However, it’s also gloriously entertaining.
A modest success when it was originally produced in 1975, the 1996 Chicago revival fine-tuned the show as well as being a perfect reflection of the previous year’s OJ Simpson trial. It was a smash hit and it is this production that has wowed audiences all over the world for nearly three decades.
The story of two imprisoned murderesses competing for the biggest press coverage is simple, but allows some brilliant satirical jabs such as lawyer Billy Flynn’s insistence that “all he cares about is love” while taking on cases with the only proviso being that the client can afford his fee. Billy is also prone to drop his latest client in favour of a richer or more press-friendly one, while the prison warden Matron “Mama” Morton is happy to do her girls any number of favours – for a price.
For a production that has existed for nearly 30 years, there is little to add to the numerous previous reviews it has had. Sufficed to say, this is a phenomenal theatrical experience. Its surprisingly traditional musical theatre score has just enough pep to make it (arguably) Kander and Ebb’s greatest (sorry, Cabaret!) and is perfectly complimented by Ann Reinking’s Fosse-inspired choreography (here recreated by Gary Chryst), while Bob Fosse’s witty book is brought to life by Walter Bobbie’s direction (recreated by Tánia Nardini).
The cast are all superb, led by the fantastically talented Djalenga Scott as Velma and Lucy-Anne Stacey (understudying, not that you would ever be able tell) as Roxie. Both display perfect vocals, superlative moves, and excellent comic timing. Their numbers are the highlights of the show, and when they finally perform properly together at the end, it delivers a showstopping finale.
Darren Day displays buckets of charisma and charm as Billy Flynn, Linda John-Pierre’s diminutive but imposing Mama is an absolute hoot, Joshua Lloyd brings suitable pathos to Roxie’s put-upon husband Amos, and Jordan Lee Davies nails to vocally tricky role of reporter Mary Sunshine.
If there is any minor criticism to be made, it is that some of the jokes are not delivered as they should, leading to some genuinely funny lines not receiving their deserved reaction from the audience. This is mostly contained within the supporting characters, although one standout exception is Josh Crowther who deserves kudos for taking the minor role of Fred Casely and stealing every scene he is in.
Nit-picking aside, Chicago is equal parts biting satire, crowd-pleasing musical, and sexy burlesque. Kill for a ticket.
Runs until 9 August 2025
