Chicago 🎩

#PRInvite #Gifted | Isn't it great, isn't it swell? 'Chicago' is the first show to grace the stage at His Majesty's Theatre this year - and it is here an abundance of glitter and glitz. The six merry murderesses of the Cook County Jail are open for visiting hours - and you've only got yourself to blame if you miss it!

Star rating: ★★★★

It’s officially 2025, and there’s no better way to kickstart the New Year than escaping to the streets of ‘Chicago’, as the hit musical arrives at Aberdeen Performing Arts. ‘Chicago’, a cult-classic, and iconic stage show, celebrates 50 years since its original conception in Philadelphia, before it transferred to Broadway - where it has essentially been performing with ‘Class’ since then. The show opened to critical acclaim in New York and London - subsequently touring America and the UK extensively ever since. Not to mention the 2002 film, which won the Academy Award for Best Picture and has since been one of the best stage to screen musical adaptations. It’s quite fitting that the production arrives in Aberdeen this month, just a few days until the Presidential changeover, with its book extending references appropriate to American politics then and now. If anything I have learned from seeing ‘Chicago’ for the second time last night is that this production and staging is timeless. With a limited number of tickets left for the entire week at His Majesty’s Theatre, you’ll have to reach for the gun quickly if you want to catch it.

‘Chicago’ introduces Roxie Hart: a devilish protagonist who aspires to be an actress - fantasising her name on the marquees across Chicago. Roxie, in a complicated relationship with her boring but committed husband, Amos, dabbles in adultery and ends up with blood on her hands. Roxie’s obsession with finding fame gets caught in the crossfire with her legal battle whilst she awaits sentencing on death row. By working with the press and prison matron, her name hits the headlines big time, turning her into a Chicago celebrity - because ‘in this town, murder is a form of entertainment’. It is Bonnie without Clyde: a murderous, sultry, but glamorous portrayal of a woman who will go to desperate lengths to hide her darkest secrets, alongside the other fiendish women in the Cook County Jail.

Unbeknownst to me on my first viewing of the show, there is a true story behind ‘Chicago’ - where notable figures such as Maurine Watkins and Lawyer W W O’Brien inspire the fictional characters we meet on stage. In 1924, Chicago was run by gangsters - and whilst the city was divided into ‘jazz-age glamour’ and ‘prohibition-era criminality’ - tabloids could turn criminals into celebrities. It is this severance of society that drives the show, nodding to the history of Chicago, by intertwining the jazz musical genre with transgression. Historically, a female criminal’s chance to freedom boiled down to their attractiveness at the time: if they could seduce a male jury with a persuasive legal battle, Lawyer O’Brien was able to turn killers into stars. It makes complete sense, then, that the show explores idealised notions of femininity for its portrayal of sexism, with the women aiming to outsmart the patriarchy with charm and sex appeal.

This production of ‘Chicago’ follows the exact same framework as always - there is nothing new or unexpected about this well oiled machine. On one hand, I would have loved to see a fresh take on the production with new staging and set pieces to give new life to quite a tired build. Everything down to the casting of the current tour lacked inspiration: with many reprising their roles and continuing where they left off three years ago. But on the other hand, if it isn’t broken - why fix it? The production's staging is charming and clever: fusing death row and solitary confinement within the big-band cabaret Roxie dares to dream about. It takes a bit of imagination, but once you see these two visions come together, that’s when you recognise the genius of ‘Chicago’. I particularly enjoyed the ensemble being present on stage the entire time, sitting on chairs around the edges as if waiting for their sentence to come to a brutal end. This is compliments to Tânia Nardini who recreates the original direction from the Broadway revival. Also combining a sense of acrobatics when exploring the death penalty proved to be a thought provoking part of the show, masking the brutality of this era with its cabaret and show-girl flare, yet highlighting the raw and real downsides to these criminals chasing fame. It served as a powerful reminder that their actions have consequences, and protesting your innocence for a crime you find yourself caught up in is not the alluring and attractive lifestyle Roxie and Velma show to be.

The show is underpinned by Bob Fosse, who helmed the book, with choreography by Ann Reinking. Whilst the book is witty, relevant and poignant at times, ‘Chicago’ is all about the dance. The choreography is a genre hybrid, containing elements of Fosse, jazz and charleston, which soar in ensemble numbers where the cast perform with finesse. Musically, there are some impressive vocals throughout, but I would have liked more grit and punch throughout as dynamically, it was lacking. Elevating the production is Ken Billington’s lighting design, which not only regards the choreography, but adds a range of much needed colour to the show which is predominantly and stylistically gold, silver and black - with costumes designed by William Ivey Long.

‘Chicago’ boasts an impressive score with songs you can’t help but know, including ‘All That Jazz’, ‘Roxie’ and ‘Mister Cellophane’. Though some songs in the latter part of Act 1 caused the pace to almost slow to a halt, I was pleased that they were circled back to during Act 2 meaning that every single musical number serves a purpose within the story. ‘Cell Block Tango’ and ‘We Both Reached For the Gun’ were standouts - perhaps two of the best numbers of the night.

Faye Brookes is back in the role of Roxie Hart, having previously toured with the show in 2022. Brookes, a familiar face from our screens as Kate from ‘Coronation Street’ and winner of ‘Dancing on Ice’, was a delight as Roxie - providing rich facial expressions throughout. She is joined by Djalenga Scott as Velma Kelly who opened the show with a captivating performance.

Known for its star casting, ‘Chicago’ continues to deliver with Loose Women's Brenda Edwards as Mama Morton and Strictly Come Dancing's Kevin Clifton as Billy Flynn. Clifton stunned audiences with a powerful singing voice, though the role underutilised his dance capabilities. Already in the running for my favourite performance of 2025, though, is Brenda Edwards who embodies Mama Morton to perfection and delivers a spine-tingling rendition of ‘When You’re Good to Mama’. Trust me when I say that Edwards’ name is the one that will be on everyone’s lips this week. If you had been there, if you'd have seen it - I bet ya you would have thought the same.

The show is completed by a talented band and ensemble - including Jonathan Milton who returns to his hometown for the week. Every person on stage has their moment to shine and this is really endearing. I especially loved how the band and conductor were deeply ingrained in the production - positioned on stage and integral for lifting spirits with their own charisma throughout.

Who said murder’s not an art? ‘Chicago’ runs at His Majesty’s Theatre until Saturday 18th of January. Whilst it is inevitable that the construction of the show is dated, it still ‘gives em the old razzle dazzle’ and is the perfect start to your year in theatre for 2025. If it’s a ‘little bit of good’ you want, grab one of the last remaining tickets for this tour now.

Credits

Instagram links: @theatregramuk, @aberdeenperformingarts, @chicagoonstage

Review by Joel Simpson cc: theatregram@gmail.com

Production photos supplied by Aberdeen Performing Arts