“Welcome. Ladies and gentleman, you are about to see a story of murder, greed, corruption, violence, exploitation, adultery and treachery – all those things we all hold near and dear to our hearts.” That’s the first line of the show, and it sets the stage perfectly for an exciting story of booze, jazz – and getting away with murder. The music and lyrics by John Kander and Fred Ebb, along with the unique, intricate choreography, originally choreographed by Bob Fosse, work together to tell a tale that portrays murder and scandal as a form of entertainment.
Set in, of course, Chicago, the musical follows the story of wannabe star, Roxie Hart (Billie Hardy – standing in for the indisposed Faye Brookes) who starts off the show by shooting her lover, Fred Casely (Joel Benjamin), in the middle of the opening number, the fabulous All That Jazz. Roxie is sent to prison where she is soon taught that there is an art to working the press, to help her get away with her crime, by her sleazy but brilliant lawyer.
The lawyer, Billy Flynn, is played by Russell Watson. He takes on the role very well by being both cool and charming, but you can tell that you wouldn’t have to scratch the surface very hard to see the sleazy manipulator underneath that façade. As expected, his voice soars right up to the ceiling in his big numbers, All I Care About and Razzle Dazzle.
In prison Roxie also meets the other “Merry Murderesses of the Cook County Jail”. Among them is Velma Kelly (Djalenga Scott), the cabaret singer who allegedly shot her husband and sister for having an affair. Sadly, Velma remembers nothing as she “completely blacked out” and “didn’t know they were dead” until she found herself “washing the blood off my hands”.
Presiding over the ladies in the jail is Matron “Mama” Morton, a character who needs enough stage presence to dominate proceedings, but without being threatening. Sheila Ferguson gets the balance just right in her portrayal. There is an understanding that the inmates treat her with respect and, in return, she helps them to freedom. Sheila’s American accent gives her character a real authenticity and her superb singing voice gives the audience a real treat every time she belts out another song.
Although it may sound like a Chicago has a serious, and quite gruesome, plot, the show is liberally sprinkled with a whole host of superb songs, some fancy Fosse footwork and a surprising amount of humour along the way. With over twenty people in the cast, and a ten-piece orchestra under the direction of Andrew Hilton, what we have here is a production that is a feast for both eyes and ears.
Heading the media posse, and deserving of a very special mention, is Mary Sunshine played by the amazing B.E. Wong. Their opening number, A Little Bit of Good, allows them to show the full operatic heights of their voice, an easy match for any of the very best sopranos, and leaves many in the audience simply amazed.
The whole cast work tirelessly throughout the show to ensure that this touring production lives up to the well-respected reputation of its previous Broadway and West-End cousins and, I am very pleased to say, it does just that. It is sexy without being seedy, naughty without being nasty, and cheeky without being cheap, in fact, Chicago is a musical to die for!
**** Four Stars