Review: Chicago the Musical
Published on Tuesday 8th June, 9.32am, Written by Guest Contributor
After reading that the London production of Chicago has used well over 14,871 pairs of tights, 481 metres of fishnet fabric, 871 metres of black lace fabric, 136,520 hairpins, 9,666 hairgrips, 2,321 litres of washing up liquid, and 760 pairs of men’s socks since it opened in 1997, I just had to see what all the fuss was about.
Within seconds, the seductive performance quality of the ensemble captured my attention, transporting me straight to the heart of the 1920s. Moments after the curtain raised, the life and soul of the era was all around me. I quickly got over any reservations about the seemingly tiny stage and was mesmerised by the abundance of characters, instruments and props that filled it. The gold-framed platform filled with musicians and scantily clad performers (both male and female) was bursting at the seams.
Chicago at London's Cambridge Theatre
The choreographic quality, timing and spacing was faultless. Tony Award-winning choreographer Ann Reinking beautifully highlights the subtle and intricate styles of Bob Fosse who famously choreographed the original 1975 production of Chicago. Exuding a sensational sexuality, cynical humour, and a slick, stylised sophistication, Reinking develops and delivers this famous style with perfection.
Credit must go to the dance ensemble and Anna-Jane Casey (Velma Kelly) who contorted every inch of their bodies to ensure each movement was as faultless as the next.
As exceptional as the ensemble and Ms Casey were, the stand-out star of the show was of course, Ruthie Henshall. Never have I seen such a cute yet seductive rendition of Funny Honey as hers, she plays a stunning Roxie Hart. However, the impressive caliber of her performance left me wondering if the rest of the cast could live up to her performance. And then came Cell Block Tango, which proved the exceptional quality of this cast immediately.
The hilariously crude number When You’re Good to Mamma was a wholehearted and organic performance given by Jasna Ivir, though it did lack movement, which was a shame. Disappointment quickly evaporated as the charming Terence Maynard dominated the stage with a show-stopping performance of Billy Flynn’s All I Care About.
With all the excitement that the comical conductor Ian Townsend and his orchestra oozed, I had hardly noticed the clever staging of the ensemble, who sit (in character) at the side of the stage when not dancing. This delicate staging gave a more contemporary and cynically grimy approach to the production, perfect!
After being blown away by Henshall’s wonderfully timed We Both Reached for the Gun and a iconic solo performance of Nowadays, it became clear that Chicago really sums up what a good night out at the theatre is all about. Glamour and good honest fun.
Chicago is a must see!
Published by: Sami Russell
I went to see Chicago after reading this review and just wanted to say that this piece really captured the essence of the seen set in the theatre.
Thanks!