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It’s only been two and a half years since Chicago was last at The Regent Theatre, but it never fails to razzle-dazzle. Back once again with fresh faces in the cast, an unforgettable score, seductive choreography and as much ‘murder, greed, corruption, exploitation, adultery and treachery’ as you can shake a stick at, it’s proved just why this show has earned its place as one of the most iconic musicals in history.
Set in the 1920s, Chicago follows Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer, Billy Flynn, to transform her malicious crime into a barrage of sensational headlines.
Faye Brookes and Djalenga Scott have reprised their double act as Roxie Hart and Velma Kelly, having seriously perfected their roles. Faye, best known for portraying Kate Connor in Coronation Street, brings a playful charm to Roxie, balancing the character’s naivety and cunning with ease. Her comedic timing is fabulous, ranging from one liners to when she plays a ventriloquist’s dummy under the control of the suave Billy Flynn for We Both Reached for the Gun.
Cast as Billy, Strictly Come Dancing professional Kevin Clifton, delivers his scenes with the required charm and charisma. His rendition of Razzle Dazzle is a crowd-pleaser, showing off his vocal range with some ‘bored belting’ – and though, while we saw a glimmer, it would have been exciting to see him incorporate more of his dance expertise into the role.
Faye and Kevin aren’t the only big names in the cast either, with Sinitta Malone putting her own stamp on Mama Morton – offering a quieter and more composed portrayal than those who have previously played the part, such as Sheila Ferguson of The Three Degrees, Loose Women’s Brenda Edwards and, in the 2002 film adaptation, Queen Latifah. Her vocal performance in When You’re Good To Mama is strong and rich, and her harmonies with Djalenga in Class were beautiful. But with Sinitta being such a strong character herself, it was sometimes difficult to see past that and see her as the prison guard moonlighting as a talent agent.
Despite some huge names in the cast, it’s Djalenga that stood out for me in her role as Velma, commanding attention in every scene she’s in, not to mention she’s got some wonderfully witty lines. Her opening number, All That Jazz, is sultry and seductive, setting the tone for the show’s sleek and stylish choreography. Her execution is precise yet full of character, with even the subtlest of movements coming across is incredibly effective. The way she carries herself oozes confidence and a sense of self-assuredness, which really does make her mesmerising to watch on stage. Her vocals are equally captivating, especially in When Velma Takes the Stand and her duet with Faye in Nowadays. The pair have such great chemistry, and it was a joy to see them both in the same roles for a second time.
The supporting cast delivers strong performances, particularly Joshua Lloyd as Amos Hart. His heartfelt rendition of Mister Cellophane is both tragic and endearing, earning him genuine sympathy from the audience.
The production’s simplicity is one of its greatest strengths. The set design is minimal but effective, allowing the performers and music to take center stage. The live orchestra being on stage adds to the immersive cabaret-club atmosphere, particularly as numbers are introduced in an MC style. The choreography, inspired by the legendary Bob Fosse, is nothing short of iconic as dancers slink about the stage performing impressive lifts and combinations, with highlights including Cell Block Tango and Roxie.
One thing I’ve really enjoyed about this tour in particular is that there seems to be even more buzz than usual – thanks to TikTok. We Both Reached For The Gun found new life as a trend on the app with people attempting a tap routine to the track, which has introduced the production to a new audience who may not have otherwise taken an interest. I love that social media is raising the profile of musical theatre in such a positive way, not just with relatively new shows like Six and Hamilton, but with classics like this 1975 broadway hit – the longest running American musical in Broadway and West End history.
Sleek, sexy and dripping in scandal, there’s a reason it’s earned six Tony Awards, two Olivier Awards, a Grammy and thousands of standing ovations. You can catch Chicago at The Regent Theatre until Saturday, November 29 – buy your tickets here.
