Review of Chicago at Milton Keynes Theatre

The musical Chicago, first staged in 1975 is rightfully a classic of the stage, and the 2002 film went many ways in bringing it also to more generations. The creator's list itself is a thing of stage legend. Music is by John Kander, lyrics by Fred Ebb, with a book by Ebb accompanied by Bob Fosse. It's quite a line-up. Fosse especially shines here with his often-emulated but never-bettered classic jazz choreography. So, what's not to like about seeing this again on stage?

Truthfully, very little, this is a highly polished new production of Chicago, opening an extensive tour here at Milton Keynes Theatre. Leading the cast is a carefully selected group of familiar stars from stage and screen, all perfectly suited to their roles.

The infamous roles of Roxie Hart and Velma Kelly are played by performers who have both previously razzle dazzled in them. From the cobbles of Coronation Street, Faye Brookes makes the perfect transition to the role of Roxie Hart beyond many a soap actor brought in to sell tickets. Her performance is clean and crisp and brilliantly devilish and comical as suits. Her singing and dance performances are brilliant and coupled with her co-star Djalenga Scott, they form a comical sparring partnership. Scott herself fits her role so perfectly as well, you can easily see why the production has brought back such a pair of performers to the roles.

Also, mining from the stage history of Chicago is Matron 'Mama' Morton played by Brenda Edwards, who first appeared in the role on the West End stage in 2006. Her brilliant voice brings a stunning rendition of When You're Good To Mama and she has a brilliant duet with Scott on the number Class.

Actually new to Chicago on stage, but still familiar to audiences no doubt is Kevin Clifton, who, since coming to household fame in Strictly Come Dancing has become quite a stage star, and here as Billy Flynn, he brings a gem of a confident performance to the stage. His self-assured behaviour is perfect for the slinky character of Flynn and his best moment clearly comes on the number We Both Reached for the Gun, alongside both Brookes and Jordan Lee Davies' brilliant Mary Sunshine.

One song that many take to heart from Chicago is Mister Cellophane, performed by Hart's downtrodden husband Amos, and once again it is a classic here, performed brilliantly by Joshua Lloyd. Everyone indeed loves a loser, especially in Chicago, which is full of people you don't want to know in reality.

The choreography by Ann Reinking in the style of Bob Fosse is crisp and perfectly suited to the show, and the talented ensemble is tremendous in creating it. Lighting from Ken Billington also suits the downtrodden atmosphere, dingy when needed and bright and dazzling when the tale suits. Music creation is superb from Neil MacDonald's always-on-stage band, very much part of the show. Sound, bar one show-stopping moment on the night, is excellently produced with lyrics and dialogue clear virtually all the time.

Even to this day, Chicago is a classic, if an extremely quirky one. The story is grim in the extreme, scenes and songs are at times longer than needed, and the comic, slapstick nature of the material may not suit all, but, yes, it is still a brilliant night out after over fifty years of thrilling audiences.

Slick, stylish and sexy, now's the time you made a trip to Chicago.
⭐⭐⭐⭐

Performance reviewed: Tuesday, 15th October 2024 at the Milton Keynes Theatre.

Chicago is at Milton Keynes Theatre until Saturday, 19th October 2024 before touring. Tour details at https://chicagothemusical.com/uk-tour/

For further details about Milton Keynes see their website at http://www.atgtickets.com/venues/milton-keynes-theatre/

Production photos: Tristram Kenton
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