Based on real life events in Chicago in the 1920s and the play written by Maurine Watkins Chicago is famous for fabulous songs, Fosse's mesmerising choreography and its overtly sexy style.
Superficially simple in its staging and with the brilliant band in full view, I have always found this to be an enormously clever and spirited musical and I was not disappointed by this production .. well, with a couple of minor niggles.
The chorus were spot on, the style for this show is critical and needs to be maintained throughout, on- and off-line, by the whole cast. And it was, not a glitch, tight and committed ... I loved it.
Sophie Carmen-Jones (Velma) and Hayley Tamaddon (Roxie) were near perfect (and yes, we did see the Ruthie/Ute version) and they both gave us high power performances to marvel at. Neil Ditt's Amos was delightful, Mr Cellophane is one of my favourite songs and he nailed it. A D Richardson's Mary Sunshine was a tour de force - a great performance!
If I had any doubts it was with Sam Bailey's Mama Morten, who I felt was too smooth and John Partridges Billy Flynn who I felt was too rough. Of course, these were probably directorial decisions as both are highly competent performers but, for me, Billy Flynn's nastiness come through a silky smooth delivery whereas this interpretation was a bit too street and Mama Morton is a somewhat loathsome character who benefits from a coarser delivery. The interpretations were certainly valid and delivered with gusto but ... well, my personal preferences differ.
Forget the film, the stage version of Chicago is the only one to see and this one deserves your undivided attention!
