Theatre Review: Chicago

(AD Event Invite*) It’s not my first time watching Chicago on stage. In fact, I sat in this very same theatre 20 years ago, watching John Altman (aka Nasty Nick Cotton) give it the ol’ razzle dazzle as Billy Flynn. I dust off my black spandex bodystocking and head to The Alex Birmingham for Press Night of this sexy, scandalous and seductive show.

“I betcha lucky lindy, never flew so high”

A black bowler hat atop a single wooden chair sets the scene. This is the roaring 20s. The music du jour is jazz. And female murderesses are sensationalised and revered. The show takes place in an evocative cabaret format where you can almost inhale the smoky atmosphere as you take your seat. This award-winning 1975 Kander & Ebb musical, with it’s classic Fosse-inspired choreography and iconic styling is the longest running American musical in Broadway and West End history.

Set in Cook County Jail in Chicago, the show is based on a 1926 play by reporter Maurine Dallas Watkins. Housewife Roxie Hart (Faye Brookes) finds herself accused of the murder of her secret lover. Desperate to avoid incarceration, she hires hotshot lawyer Billy Flynn (Darren Day) and together they weave an elaborate tale to dupe the media. Roxie’s fellow inmate, vaudevillian turned murderess Velma Kelly (Djalenga Scott) is unhappy that the spotlight has been stolen from her own misdemeanours – and her lawyer’s attentions swiped from right under her. She’s determined to regain the limelight, but Roxie is always one step ahead.

“Pop. Six. Squish. Uh-uh. Cicero. Lipschitz”

Dancing on Ice finalist and former Corrie star Faye Brookes puts in a stellar performance as Roxie Hart. The character is full of contradictions – coy but pushy, winsome but manipulative, playful but self-centred – and Brookes captures this balance perfectly. She switches from comedic characterisation to intense emotion easily.

The high-octane opening number “All That Jazz” requires a high-octane performance, and Djalenga Scott delivers it in spades. She has an incredible stage presence and is captivating throughout. Both leads have true vocal talent; Brookes’ vocals are soft and breathy, almost childlike, but they contrast perfectly with Scott’s powerhouse performance.

Darren Day plays the unscrupulous lawyer Billy Flynn, a charismatic and charming character, always looking for the next celebrity criminal. Day’s long history in musical theatre shines through; he and Brookes are flawlessly synchronised during the clever ventriloquist/dummy act in “We Both Reached for The Gun“. Sinitta (yes, she of So Macho fame) plays the indomitable Matron ‘Mama’ Morton, the prison matriarch who pulls all the strings. Her performance lacks authority at times, but what a voice.

“You can look right through me, walk right by me…”

It’s Roxy’s cardigan-wearing, cuckolded husband Amos, played by Joel Montague, who steals the audiences hearts though, especially during his poignant solo “Mr Cellophane”. Montague manages to portray Amos as both lovable and pitiful at the same time.

Unusually, the 10-piece orchestra are out of the pit and take centre-stage. Musical director Andrew Hilton is fully involved in the staging around him. They have their chance to shine opening the second act, and I think we would have all paid to watch an hour of them alone.

It is truly an ensemble show, despite a few familiar names taking the starring roles, and the phenomenal 25-strong cast are constantly on stage. The staging is as simple as you can get. Simple black and gold. Few props – just a few chairs, a couple of ladders, some white feathers. Few costume changes. Less is certainly more. It’s effortlessly glamourous and aesthetically pleasing.

“Give ’em the old three ring circus”

Intimate lighting emphasises the complex shapes and sharp lines of the intricate choreography. Those exquisite Fosse nuances. For any dancer, it must be an utter joy to perform. And the memorable score has plenty of crowd-pleasers, not least the infamous Cell Block Tango.

From the dazzling opening of “All That Jazz” to Roxie and Velma’s closing number “Hot Honey Rag” this production oozes class and style. Book your tickets and treat yourself to a little razzle-dazzle. It would be criminal to miss it.

*Why is this post marked AD? I received complimentary tickets to this event. However, you can trust that I will always be honest and truthful on A Brummie Home and Abroad, and being an invited guest will not influence my opinion in any way.