Chicago
Milton Keynes Theatre
15th October 2024

With its 50th birthday on the horizon in April next year, the legendary musical ‘Chicago’ has launched a new UK tour this week at Milton Keynes Theatre, with its killer combination of “Murder, greed, corruption, exploitation, adultery and treachery…all those things we hold near and dear to our hearts”. The show floundered initially, and it wasn’t until its revival some 20 years later that it really hit the big time, becoming Broadways longest-running musical revival as well as the longest-running American musical in Broadway history. Its sassy sexy style has garnered a huge fanbase over the years, along with countless awards (and an Oscar-winning film), and now it’s back to bring “All That Jazz” to a regional stage near you.

In the height of the jazz age in 1920s Chicago, the unhappily-married Roxie Hart (played by Faye Brookes) kills her lover in a moment of passion and panic. She’s held in Cook County Prison awaiting trial, governed by the shady Mama Morton (Brenda Edwards). While inside, Roxie meets Velma Kelly (Djalenga Scott), who’s being held for the murder of her husband and sister, and an immediate hostility is borne between them. Both women are singers who crave fame, and begin to battle for the attention of criminal lawyer Billy Flynn (Kevin Clifton), who’s never lost a case. As Flynn orchestrates the trial and animosity grows between the ambitious starlets, Roxie’s husband Amos (Joshua Lloyd) stands by her side unwaveringly, despite growing evidence that all Roxie really wants is to be a star, any way she can.

‘Chicago’ enduring brilliance is a testament to the strength of its score and its characters, along with its narrative approach of telling its story through the guise of a Vaudevillian cabaret, and it’s lost none of its power nearly half a century since it was first written. It’s an exploration of murder as entertainment, a satire on the corruption of the justice sytem, and the fleeting nature of fame; a world where celebrities are created overnight, and then discarded when “the next big thing” comes along, which is as true today as it ever was. Kander & Ebb’s most accessible score remains fantastic, very much in their signature jazz-infused style, and barely puts a foot wrong. Kander’s music is wonderful, full of earworm melodies and jazz riffs, and Ebb’s lyrics are biting and full of it, as is the book (by Ebb and choreographer Bob Fosse). Full of great characterisation and grit, it’s also a superb vehicle for strong women, putting them figuratively and literally in the spotlight where they belong and allowing them to shine.

This production recreates the direction and style of the Broadway original, with the stark black bandstand which houses the orchestra and is framed simply by chairs, on which the ensemble sit when they’re not delivering the killer iconic choreography. Originally created by Bob Fosse and later adapted by Ann Reinking in his singularly expressive style, the moves are such a key trademark of the show, and they remain slick, precise and provocative, and have lost none of their power over the years. It takes a truly talented group of dancers to be able to learn such an intricate style and sense of movement, and this ensemble absolutely deliver it.

‘Chicago’ started to decline when it fell into the trap of stunt-casting, inviting performers whose names were greater than their talents. Fortunately that’s not the case this time around, and the assembled cast here show how the show should be delivered in the right talented hands. Faye Brookes and Djalenga Scott lead the show sensationally as Roxie and Velma, very much a double act who gel brilliantly together. Both women absolutely understand the definitive style of the show and deliver it brilliantly, with Brookes’ playful sultriness and Scott’s impeccable rhythmic timing particularly impressive. It’s wonderful to see Brenda Edwards back on stage again, and Mama Morton fits her like a glove. Her previous experience in the role comes through strongly, she oozes confidence and puts that voice to great belting effect. Clifton is fine but doesn’t quite land the grittier side of Flynn, his genuine likeability shining through and making the lawyer feel less of a shark than he should, but it’s early in the run. Clifton has consistently delivered in every theatre role he’s had so far, and there’s no reason to think he won’t do the same again here.

‘Chicago’ is one of the all-time great musicals, dark and sensual with tunes to kill for and an iconic visual style all its own, and it’s great to see it back on our stages again, being done as it should be. As brilliant today as it ever was, it will undoubtedly live on for another 50 years, and then some.

‘Chicago’ runs at Milton Keynes Theatre until Saturday 19th October 2024, before embarking on its UK tour through to the middle of 2025.

Performance runtime 2 hours 20 minutes including interval.