Perhaps one of the most fascinating facts about Chicago is how much truth is contained in the story. Journalist Maurine Dallas Watkins had turned her experience into a play writing about Chicago’s criminal world and the glamorous women at the centre of a series of murders back in 1924.
Chicago still raises significant questions about the cult of celebrity, crime and America’s relationship with guns. Tonight the Playhouse is packed and the atmosphere is closer to that of an underground club as you enter the stalls.
An announcement before the show reminds theatregoers that: “This is not a singalong performance” which summons much laughter from a group of merry women who bowl into the theatre. Taking on the role of Roxie Hart is Faye Brookes who delivers the right amount of comedy and glamour in the part previously owned by the likes of Ginger Rogers (1941) and Renee Zellweger (2002) in film versions. Liza Minelli even took on the role on Broadway fifty years ago in August 1975 replacing Gwen Verdon for a short time, who was recovering after inhaling a feather.
No such problems tonight with this brilliant cast including Kevin Clifton and Brenda Edwards bringing the jazz age and a world of murder, sex and bootleg booze to life. Clifton as the crooked lawyer Billy Flynn delivers memorable dance moves and fun performances of ‘All I Care About’ and the old ‘Razzle Dazzle’. Brenda Edwards as Matron ‘Mama’ Morton is backed by the Brechtian-style orchestra for a knock-out performance of When You’re Good To Mama. Djalenga Scott has been involved with the musical for two decades and her experience shows. One of the stand-outs in her role as Velma Kelly is the Cell Block Tango.
There’s a sparkling chemistry between Scott and Brookes during Nowadays and Hot Honey Rag before the finale with soaring cheers from the audience all adding to the ramped-up atmosphere. Added to the cast you have the timeless songwriting of Fred Ebb and John Kander, the power of their work remains. The influence of Bob Fosse’s unorthodox and jagged movement through rolling hips and angular shoulders as well as jazz hands are all apparent and displayed through this talented cast. Fosse’s world along with the glamour and crime of 1924 are brought to life through a defiant and thrilling world of dance.
Chicago-The Musical
The Playhouse
