Chicago Still Rocks The Regions

Chicago was first revived 10 years ago to huge critical acclaim. But with celebrity casting in the West End reaching overkill, countless tours, and the movie version featuring Rene Zellweger and Catherine Zeta Jones; is it time to hang up the stockings and retire these gals?

Well, if this current tour is anything to go by, no because the show remains as slick as it ever was. The plot is simple; our protagonists Roxie Hart and Velma Kelly are both murderesses, intent on becoming famous. They hire a lawyer Billy Flynn who is the best in the business and with the aid of his superb 'spin' tactics they attempt to reinvent themselves as stars.

They are aided by Mamma Morton who helps them in their cause, taking quite a bit of cash from them in the process. The themes of media manipulation and the cult of celebrity remain so relevant in today's 'D List' obsessed press that the show appeals on so many levels.

The stripped down, almost bare set and lack of pyrotechnics means that Chicago is reliant on strong performances as there the narrative is driven by them with no helicopter, 'circle of life' style opening, or crashing chandelier to divert your attention. The current touring cast certainly delivers; from the ensemble whose sexy bodies and 'Fosse' moves frame the piece to the wonderful smiling live band. I mention the musicians as they become members of the cast by being perfectly visible throughout the show, instead of tucked away from public view. This works as too often you hear an over-reliance on pre-recorded music in musicals. This visibility gives the show the immediacy it needs to keep you involved.

The touring cast does not feature some of the bizarre casting choices that have been evident in the West End, thankfully. Jennifer Ellison is the key selling point used to promote the show. She originally played Roxie in London and returns to the part she so clearly enjoys playing. The audience warm to her immediately as she has a real knack for comedy and can dance incredibly well. But compared to the rest of the cast her singing voice suffers slightly. Unable to compete vocally means that she is often overshadowed during some of the big show stopping numbers. Her own song, "Roxie" for example, only comes to life when she is backed by the supporting cast and big band.

I have always preferred the character of Velma as the actresses I have seen give it more gusto and, to be honest Velma has the better songs and more interesting character traits. Here, Dawn Spence does not disappoint. Her Velma is a sly fox, slinking across the stage with a real glint in her eye. Her rendition of "All That Jazz" leaves you in no doubt of  Velma's intentions. Her tiny frame contorts rising to the challenge of Fosse's style of dance, with ease; mirroring Kelly's manipulative personality perfectly.

Katy Secombe plays Mamma Morton with real verve; wise cracking her way through the script and singing up a storm. Plenty of Mammas have just been star names – offering the audience very little in terms of what makes this matriarchal prison warder tick. Gaby Roslin, Alison Moyet and Brenda Kelly have all tried their hand at this role. Yet Secombe manages to make Mamma scary, and at the same time as vulnerable as anyone else. She gives her a soft centre instead of playing her like a butch stalwart from the TV show Bad Girls.

Billy Flynn is a hard role to carry off well without descending in caricature. Some have played the smarminess well, but have not managed to show you how hard nosed he is. George Asprey gives his Billy the cheesiness of "The Hoff" trapping female clients, along with the harsh reality that they are left high and dry when his job is done. His "All I Care About" is a joy to behold.

This tour is going to play to packed crowds if the opening night in Manchester is anything to go. Well deserved applause resonated around the theatre and is likely to be repeated nightly; sheer proof, if needed that Chicago is still one hell of a fun night out.

Glenn Meads

www.chicagotour.co.uk

 

 

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