New Victoria Theatre, Woking, Tuesday 3rd May 2022
Chicago is a musical that I have been so excited to finally experience live. Having watched the critically acclaimed, award winning 2002 Rob Marshall film early into the run of the podcast, I fell in love with the Razzle Dazzle of the world and have been waiting for the opportunity to experience Chicago as Bob Fosse, John Kander and Fred Ebb intended. Did it deliver? Absolutely!
Immediately different from the film; the lights come alive with the wonderful orchestra who are on stage throughout and become one with the show. Led by a wonderful Musical Director (Andrew Hilton), it is quite a spectacle and makes Chicago stand out as something truly unique. There are wonderful moments throughout when the cast will interact directly with Hilton, and he excels in these small moments. From excessive laughter at one of Billy Flynn’s jokes to ignoring Amos Hart’s request to “Play my exit music”, the consistency with which he engages with the audience, and the energy, is infectious and hilarious.
The cast all excel within the roles presented to them. Knowing the characters only from the film, it was really interesting to see the different interpretations by the performers. Whereas Roxie comes across incredibly self-centred and mean in Renée Zellweger’s portrayal, Faye Brookes brings a wonderful naivety and cheeky charm to the role. The stage comes alive when she is performing, a fantastic visual representation of how Roxie views herself, and this is best evidenced in Me and My Baby where “her boys” come onto the stage to fawn over her. Chicago is interesting because all of the characters are, arguably, villains. There were certainly times in the film where I wanted to see Roxie get her comeuppance, but on stage, I felt like I was rooting for her far more than I had previously. Brookes does a fantastic job exploring all different sides of Roxie; there are sexy and sultry moments, but also moments of wonderful physical comedy. A particular highlight was her performance in We Both Reached For The Gun. The control in becoming Flynn’s ventriloquist dummy is absolutely incredible and so precise that crowd erupted with laughter. Likewise, moments where she is acting out her melodrama-esque testimony in the court room; there is so much to like about Roxie and this is all down to the wonderful performance of Faye Brookes.
Catherine Zeta-Jones notably won an Oscar for her performance of Velma Kelly, and Djalenga Scott had some big rhinestone shoes to fill. I especially enjoyed the additional depth Velma gained in this performance. In the film; she always appeared fierce, confident and secure, but Scott added some vulnerability and insecurity to the character that I felt came off really well. There was also much more opportunity for some comedic moments that the much more serious Velma of the film. The opening of Act 2, as Velma performs I Know A Girl, speculating about and dismissing Roxie's faked pregnancy, ends with a brilliant moment where the ladder she is atop is suddenly closed shut as she is dismissed. Likewise, as she tries to recruit Roxie to aid her faltering star with I Can’t Do It Alone, Scott’s over-the-top and fantastic facial expressions add great comedy to the proceedings and also aided in making the character much more likable. There are so many songs in Chicago that come with high expectations, and All That Jazz is certainly up there as it sets the tone for the whole show. Scott’s voice is smooth and her choreography is sublime and you will instantly know you’re in for a good night at the theatre.
Every character has a chance to excel, be it as a master of ceremonies introducing an act or taking their time in the spotlight. Sheila Ferguson brings a well-crafted Matron ‘Mama’ Morton to the stage who grows to offer sincere feelings towards the women in her care, rather than just exploit them. We were very lucky to have been able to see her in the role before she leaves. Jamie Baughan’s Amos Hart is such a tragic and likable character. I never felt he was the butt of a joke, and perhaps that’s my interpretation, as I felt Baughan’s performance elicited such sympathy in the way this loyal and likable individual was exploited. When we finally get Mister Cellophane it is appropriately quiet and understated. Whilst every other character gets a big number for their spotlight, or is accompanied by dancers and props, Amos only gets some gloves, which he puts on with great pride. Perhaps the most heart-breaking part to his performance; Amos feels like this is all he deserves and it is tragic and brilliant. Russell Watson is excellent as Billy Flynn, with his voice being one of the strongest in the cast. His energy and delight in coordinating Roxie's defence is fantastic, and We Both Reached For The Gun will not disappoint those in the audience.
The ensemble are a big part of this show, and with crisp choreography, costumes that ooze Razzle Dazzle and songs that highlight different voices, they are successful at making Chicago such a hit. The Cell Block Tango is incredible to see live. Whereas the film offered more subtle characterisation, the ensemble go big on the mannerisms and it helps make the song hit hard.
Chicago did not disappoint; it was everything I wanted it to be and more. There is a reason Chicago has been successful for so long, and this production manages to not only pay homage to previous productions – like with a spotlight on Fosse’s original choreography - but also keep the show fresh for a modern audience.
*****/5
Download our episode – coming out Monday 9th May for more of our thoughts and to find out who our MVP is; along with more talk on our favourite songs and what roles we would want to play.
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Chicago is currently playing at the New Victoria Theatre in Woking until Saturday 7th May 2022. You can follow them on:
Twitter: @WokingTheatre
Instagram: @NewVictoriaTheatreWoking
Twitter and Instagram: @ChicagoOnStage