Chicago bursts out with an ‘Overture’ by the on-stage orchestra that really sets the scene for the themes of villainy, criminality, seediness and deviance. Sophie Carmen-Jones as villainous Velma Kelly who has murdered both her husband and sister when she found them in bed together boasts of her crime as a sublime thrill. She introduces us to the crime scene in the city in ‘All That Jazz’, a famous classic musical number with dark overtones.
In ‘Funny Hunny’ Roxy Hart tells of how she dupes her husband Amos to take the rap for the murder of her lover but gets cold feet when the name of the deceased is mentioned, suspecting a secret affair. The hilarious ‘Cell Block Tango’ sees Velma and the girls living it up (saucily clad) in the women’s block in Cook County Jail.
The regime is held by Matron ‘Mama’ Morton (an incredibly mean dyke played by Sam Bailey) who runs an ‘I’ll scratch your back of you’ll scratch mine set-up. This includes making money through making money through engagements for her notorious collection of fallen women, with her prize being Velma.
John Partridge is perfectly cast as the slinky sleazy lawyer Billy Flynn who attempts credulity in ‘All I Care About’ as if we didn’t know his true corrupt and corrupting nature. Billy uses Roxie as a ventriloquist’s demmy when the media attend especially impressing anive hack Mary Sunshine in ‘We Both Reached for the Gun’, an attempt at covering the motive and nature of her crime.
The trick works and she is now a media starlet which upsets Velma but soon they are singing in duet, ‘My Own Best Friend’, a cry for independence. Roxie’s next trick is to feign pregnancy (a quickie with the doctor helps he case here) which further infuriates Velma (‘I Know a Girl’) Amos is now hoping that he is the father but he is ignored as ever as he mordantly sings in ‘Mister Sellophane’.
Velma plans her defence in ‘When Velma Takes the Stand’ playing on her feminine fragility (despite her black-hearted infamy). The famous ‘Razzle Dazzle’ is performed with poise and poignancy by Billy and company. Meanwhile Velma and Matron contemplate on whatever happened to decency and morals in ‘Class’. The show climaxes with a duet between Roxie and Velma filled with verve and veracity.
The ensemble hit the high mark expected of a successful West End Show and the choreography by Ann Reinking is immaculate. Walter Bobbie’s direction is crystal clear keeping the flow musical classics seamlessly joined. William Ivey Long’s costumes really conjure up the zeitgeist of the era and John Lee Beatty’s scenery adds further authenticity to the show. With their outre outfits the girls really are quite outrageous but there is eye candy in the male dancers too.
Sexy, sassy and seriously saucy.
Reviewed by Rich Jevons on Monday 4th April at Alhambra Theatre where it runs until Saturday 9th April and touring, see http://chicagothemusical.com/uktour.php