REVIEW - Chicago is sexy, stylish and undeniably cool - it has everything you want from a musical!

On Monday we went to the Palace Theatre, Manchester to see Chicago. See what our reviewer, Lizzie Johnston thought about this amazing musical...

The name on everybody’s lips is gonna be…Chicago! The sizzling iconic musical has returned to Manchester and is ready to heat up this chilly November. I love Chicago, and I love everything about it. It’s hands down one of the best film adaptations of a musical and, this week, it’s taking to the Palace Theatre stage.

For those who aren’t familiar (though I can’t imagine many of you are), Chicago tells the story of Roxie Hart, a wannabe star who finds herself in jail after murdering her lover. In the prison, she competes for the spotlight with Velma Kelly, a former vaudeville star who has her own set of troubles. Add in a crooked lawyer, a sassy matron, and a jazz-infused score, and you’ve got one of the sharpest, sexiest musicals ever created.

While I’ve watched the film an obscene amount of times, I’ve only ever seen the stage version once and that was on a Broadway stage in New York (not bragging, I promise), so I was really excited and intrigued to see the touring production. 

This production has a star studded cast, led by Faye Brookes (Strictly Ballroom, Chicago, Shrek) as Roxie Hart. Bookes oozes underestimated confidence, her version of Roxie could easily be mistaken as cute and innocent, yet she matches the confidence and wit of Velma Kelly. 

Velma Kelly, played by Djalenga Scott (Chicago, Cats, Annie), is the epitome of sexy confidence and hard-edged attitude. Her presence on stage is magnetic, and she absolutely owns every moment. Whether she’s belting out “I Can’t Do It Alone” or commanding attention in her sultry dances, she makes Velma her own while staying true to the character’s iconic legacy.

It was great to see Brenda Edwards (We Will Rock You, Chicago, Carousel) take to the stage as Mama Morton, considering this is the role in which she made her West End debut. Edwards truly knows how to command a stage, which is exactly what Mama Morton needs, plus her powerful voice which wowed us all. 

But it’s not just the leading roles that make this production of Chicago a success. The ensemble is a powerhouse of talent, bringing energy and precision to every scene, whether they’re embodying the jazz-infused chaos of 1920s Chicago or executing Bob Fosse’s iconic choreography with stylish flair. Every performer contributes to the show’s vibrancy, lending depth to the dance numbers and atmosphere to the sultry set pieces. It’s a cast that feels cohesive and deeply committed, each member bringing their own spark to the stage and working in perfect sync with the show’s jazz-band style.

One of the reasons I love the stage version of Chicago is because of the set and production, it’s really nothing like any other musical. The band is on stage, but they’re central and placed on steps right in the middle - think big band vibes. The music is the heart of the show, with its iconic score and jazz undertones that make it such a classic, so it makes sense to have the musicians as part of the on-stage performance. 

One of the stand out moments for me was the opening of Act 2 when the band gave us a glimpse of the music from the act and went full on big band with a performance of their own. I just love live music so this was bound to make me smile. It brought the house down! 

The cast perform on and in front of the steps, working right with the musicians in some cases. This means the set itself is minimal, it’s more about props, the music, and the performance. For me, this adds an element of class and an essence of a vaudeville show in the 20s - which is the main aim for Roxie and Velma.

The costumes are not straight from the stereotypical 20s style, they’re more modern and sensual - think black, fishnets, and a few sequins. It’s the kind of costume that lets the performers shine while staying true to the show's glamorous yet gritty vibe. The sleek costumes, combined with Fosse’s choreography, make every movement feel like a work of art.

Fosse’s choreography is another reason Chicago is iconic, with a combination of sharp minimalism and sinuous elegance. I’m a big fan of this style and Chicago really delivers a clean, stylish show, giving it a chic, almost burlesque quality that never loses its edge.

Chicago is sexy, stylish and undeniably cool. From its jazzy score to its sharp choreography, the show is everything you’d want in a musical. If you’re a theatre lover — or even if you’re just someone who appreciates a well-crafted performance — this is a must-see. It’s unique, it’s bold, and it’s an absolute showstopper.

WE SCORE CHICAGO..

Chicago is on at the Palace Theatre, Manchester until Sat 9th November 2024.



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