Chicago at Nottingham Royal Concert Hall
Chicago, the longest-running American musical in Broadway and West End history, struts into Nottingham’s Royal Concert Hall this week, and it’s every bit as glitzy as ever. This UK tour delivers a razor-sharp production, overflowing with smoky jazz, courtroom drama, and biting satire all wrapped up in 1920s showbiz sleaze.
With a book by Fred Ebb, John Kander and Bob Fosse, Chicago spins a darkly comic tale of crime, corruption, and celebrity. Nightclub dancer Roxie Hart murders her lover in a jealous rage, then charms the press, the public, and her cellblock rival Velma Kelly to escape conviction. She enlists the help of slick, media-savvy lawyer Billy Flynn, who turns her case into a headline-hungry circus.
50 years since its creation, the score remains electric. From the iconic “Cell Block Tango” to the slick swagger of “All That Jazz,” the music continues to thrill, bolstered by a live band that takes centre stage – literally. The minimalistic set design puts the orchestra front and centre, directed with precision by conductor Neil McDonald. This configuration forces the actors to weave through and interact with the band, adding a sense of intimacy and improvisation. However, it also compresses the action into the front third of the stage, creating moments that feel both tightly choreographed and occasionally overwhelming.
Djalenga Scott brings a cool, commanding presence to Velma Kelly, exuding indifference in her opening number with Fosse-inspired choreography that smoulders rather than blazes. In contrast, Janette Manrara’s Roxie Hart is all nervous energy and narcissism, relishing every second of her tabloid-fueled notoriety. The chemistry between the two is electric, their rivalry palpable yet playful.
Dan Burton’s Billy Flynn radiates charm with just enough menace to make his manipulation unsettling. His rendition of “Razzle Dazzle” is a masterclass in theatrical misdirection, flashy yet sinister beneath the sparkle. Brenda Edwards as Matron “Mama” Morton stops the show with her powerhouse vocals in “When You’re Good to Mama,” oozing charisma and control in equal measure.
Joshua Lloyd’s portrayal of Roxie’s hapless husband, Amos Hart, draws heartfelt sympathy, particularly during his quietly devastating “Mr. Cellophane.” Jordan Lee Davies offers comic relief as Mary Sunshine, keeping the courtroom chaos lively and precise with flawless delivery.
The ensemble, dressed uniformly in sheer black, is a sinuous, ever-moving force of sensuality and style. Their choreography blends precision with attitude, channeling the show’s signature jazz-infused seductiveness in every number.
While the staging may feel cramped at times, the energy never falters. This production of Chicago is a bold, brassy affair—timeless in its themes, thrilling in execution, and dripping with charisma.
Chicago runs at Nottingham’s Royal Concert Hall until 12th April 2025.
Book tickets here: https://trch.co.uk/whats-on/chicago/.
