\u201cMurder, greed, corruption, exploitation, adultery and treachery\u2026all those things we hold near and dear to our hearts.\u201d<\/p>\n\n\n\n
For anyone who doesn\u2019t know the story, it is set in 1920s Chicago. One of our leading ladies Roxie Hart, a housewife and chorus dancer, gets sent to the county jail for killing her lover, after trying to pin it on her husband. There she meets one of her idols, jazz performer Velma Kelly, and other women also accused of murder. Mama Morton presides over the jail and does favours for those who can pay for them. Roxie manages to get slick criminal lawyer Billy Flynn to take her case and keeps media attention on herself by faking a pregnancy, only to be dropped the minute her trial finishes as another, more interesting story grabs the press\u2019 attention.<\/p>\n\n\n
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<\/a><\/figure><\/div>\n\n\nI was particularly excited by the stellar cast list for this production. Plenty of familiar faces with Russell Watson as Billy Flynn, Sheila Ferguson as Mama Morton and Faye Brookes as Roxie Hart (my mum loves a bit of Corrie!). I\u2019m pleased to report they were all a credit to their roles, as were the names I was less acquainted with.<\/p>\n\n\n\n
Faye Brookes did a great job as Roxie Hart. Truly she was wasted on Coronation Street; I had no idea she could sing as well as she does! Djalenga Scott played Velma Kelly and was a real powerhouse from her opening number \u2018All That Jazz\u2019 all the way through to the end. Both ladies had big shoes to fill and have done so admirably. <\/p>\n\n\n\n
Russell Watson, now in his mid-50s, hasn\u2019t lost any clout and performed with real razzle-dazzle. Perhaps even more impressive was Sheila Ferguson, who at 74 still has amazing control over her singing voice. Jamie Baughan as Amos Hart \u2013 Roxie\u2019s husband \u2013 was popular with a sympathetic audience and added some great comedy moments.<\/p>\n\n\n\n
For those of you who have only seen the film, there are several additional numbers in the production that really add to the story, in particular \u2018I Know A Girl\u2019 and \u2018Me and My Baby\u2019, which come at the beginning of the second act. Equally there are a couple that, in my opinion, were dropped from the film with good reason, \u2018A Little Bit of Good\u2019 being front of mind. Sadly, B E Wong\u2019s performance tonight did not convince me it is worth keeping in.<\/p>\n\n\n
<\/a><\/figure><\/div>\n\n\nOne of my favourite things about Chicago<\/em> is how incredibly sexy it is, and it continues to be so. I remember when I last saw it in the West End how the entire audience gasped when the women performing \u2018Cell Block Tango\u2019 all dropped into the splits in unison. There were no gasps this evening, but the ensemble\u2019s dance moves were worthy of them. From the first sigh in \u2018All That Jazz\u2019 their movements were in perfect sync, keeping things sleek and sexy all the way through.<\/p>\n\n\n\n Of course, the slinky, often see-through costumes definitely help!<\/p>\n\n\n\n Last but by no means least, the orchestra deserve a special mention. Centre stage throughout, they truly brought the era of 1920s decadent jazz to life, earning them enthusiastic applause when they opened Act II.<\/p>\n\n\n I always enjoy Chicago<\/em> but without a doubt this cast more than does it justice. They interact seamlessly with each other, easily recreating the sexiness and sass that this musical is famous for. I thoroughly recommend the 2022 tour.<\/p>\n\n\n\n Chicago<\/em> is playing at the Orchard until Saturday 23 April, so get your tickets now<\/a> while there\u2019s still time. For alternative UK tour venues, go here<\/a>.<\/p>\n<\/a><\/figure><\/div>\n\n\n