Book: Fred Ebb and Bob Fosse
Music: John Kander
Lyrics: Fred Ebb
Director: Walter Bobbie
Since its first outing on Broadway in 1975, Chicago has become a musical theatre staple. The longest-running
musical in Broadway history, it has seen multiple West End revivals, countless international tours, and to top it off, it also has a renowned 2002 Oscar-winning film adaptation to its name. Filled with glitz, glamour and grit, it is clear to see why the show has captured audiences around the globe, and this production at Wolverhampton Grand Theatre is no exception.
Set in the 1920s, Chicago is a sharp satirical musical that follows vaudeville villainesses Roxie Hart and Velma Kelly (based on real-life felons Beulah Annan and Belva Gaertner) as they rely on silver-tongued star lawyer Billy Flynn to get them out of jail and into the limelight. As the pair battle both for freedom, but mostly for media attention.
Best known for cha-cha-ing her way around the dancefloor on Strictly Come Dancing, Janette Manrara makes the transition from ballroom to centre stage look easy as she confidently tackles the role of Roxie Hart. Her vocals are refreshingly pure, and she captures Roxie’s playful, ambitious nature with ease. At times, though, her portrayal leans a little too sweet for the role, particularly in scenes opposite Velma, where their rivalry lacks some of the grit and edge needed to fully convey Roxie’s steely determination.
In contrast, Djalenga Scott’s Velma Kelly is poised and coolly confident. Even during her frenzied performance of I Can’t Do It Alone, a desperate attempt to persuade Roxie to join her in a duo, she remains elegant and captivating. Scott truly captures the depths of Velma’s layered character, and is a perfect foil to Manrara’s hot-headed and naïve Roxie Hart.
Darren Day completes the trio as smooth-talking legal counsel Billy Flynn. He oozes old-school razzle-dazzle, with just the right amount of charm and bravado. His vocal performance isn’t the strongest in the cast, but his charisma makes it easily forgivable.
One of the show’s greatest strengths is its exceptional ensemble, which delivers the smooth, sleek choreography with precision. Ann Reinking pays flawless homage to Bob Fosse’s award-winning and legendary choreography. The ensemble rises to the challenge, performing it with flair, clad in sheer, black costumes (a nod to the Vaudevillian performances of the 1920s) against a similarly minimalist set, which puts the band quite rightly at centre stage. The band, under the expert leadership of Musical Director Neil Macdonald, provides a driving pulse to the entire production.
The iconic songs are delivered with aplomb; the sassy and seductive performance of Cell Block Tango is a definite crowd pleaser, whilst Manrara and Day steal the show with their high-energy, ventriloquist-inspired performance of Both Reached For The Gun. Mama Morton’s signature solo doesn’t quite land as Victoria Anderson’s performance lacks the usual bite that the role demands. However, with a little more time and confidence, she is sure to step fully into those famously big boots. In a surprise highlight, Jordan Lee Davies delivers a knockout performance of A Little Bit of Good, with their portrayal of journalist Mary Sunshine becoming a standout of the evening.
Chicago is a classic for a reason. This production might not hit every note perfectly, but it still delivers a sharp, stylish reminder of why the show has lasted this long. Whether you are revisiting the show, a fan of the film, or getting around to ticking it off your theatre bucket list, or have had it on your must-see list for years, it’s well worth a watch. Chicago still brings the razzle-dazzle, and then some!
Runs until 28 June 2025 and on tour
