Chicago The Musical - UK Tour - Review

★★★☆☆

For a musical as iconic as Chicago, it’s surprising how much of it you already know without ever having seen it. So, sitting in a crowd of super-fans at Birmingham’s Alexandra Theatre, you’d expect something electrifying. But the real question is: does this production capture the slick punch that made the show a classic… or is it leaning too heavily on its reputation?

The story, for the uninitiated, follows Roxie Hart, a wannabe vaudeville star turned murderess, who manipulates the media to escape conviction. She’s joined in jail by fellow headline-hogger Velma Kelly, and together they tango their way through a cynical justice system under the guidance of a fast-talking lawyer.

Strictly Come Dancing professional, Janette Manrara, steps into Roxie’s heels and is a real joy to watch. Her background in dance is evident as her movement is so fluid, characterful, and always expressive, even outside the choreography. She brings energy and charisma to the role, her Roxie is flighty, fame-hungry, and completely captivating.

Alongside Manrara is Djalenga Scott as Velma Kelly, who truly owns the stage. From the iconic opening number All That Jazz, she oozes confidence, control, and a razor-sharp jealousy that makes her rivalry with Roxie delicious to watch. Scott’s performance is close to faultless — vocally strong, dramatically tight, and bursting with character. If there’s a standout in this production, it’s her (Although there is a bit of questionable chair choreography).

The musical itself doesn’t have a huge number of songs, but those it does have come with long, meandering dance breaks — sometimes sizzling, but more often here, sagging. Despite a cast full of triple-threats, the choreography felt oddly underpowered and lacklustre, with moments where dancers were visibly out of sync and just going through the motions of the movements. For a show that should live and breathe rhythm, it felt like the fizz had gone a little flat.

Dan Burton gives a suitably slick performance as Billy Flynn, the silver-tongued lawyer who can charm a jury with a single wink. He struts through his numbers with style, giving courtroom puppetry the razzle-dazzle it deserves. Joshua Lloyd, as poor, dependable Amos, gives a tender performance that’s genuinely affecting, though it’s a shame that the audience’s pantomime Aww’s undercut the quiet heartbreak of Mister Cellophane.

Loose Woman, Brenda Edwards delivers two of the best numbers of the night as Mamma Morton, When You’re Good To Mamma and her duet Class with Velma is are both lean in and listen moments. Jordan Lee Davies’ Mary Sunshine is well received by the audience, although the American accent wandered suspiciously close to the Scottish Highlands numerous times.

The set is minimal, which isn’t a problem when the performances are this front-and-centre, and the band, led by Neil MacDonald, is an absolute treat. The jazz score is crisp, punchy, and oozing with smoky 1930s charm. In fact, the band are often more engaging than some of the longer songs themselves, which occasionally test your patience (The song Roxie, in particular, feels like it repeats the title enough times to summon her like Beetlejuice… and the song doesn’t seem to add anything to the plot, nor is it particularly entertaining).

Ultimately, Chicago the Musical knows its brand and its audience. This production delivers just enough to remind you why it’s lasted as long as it has. If you’re a fan of the show, you’ll lap it up. But if you’re coming fresh, or you’re a little more musically demanding, it might leave you feeling like one visit is enough. It’s glitzy, it’s iconic, but it’s also starting to forget what it is as a musical.