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Janette Manrara as Roxie Hart and Company. Pictures: Becky Lee Brun Chicago Wolverhampton Grand Theatre ***** Chicago - Kander and Ebb’s slick tale of murder, greed and corruption in 1920’s Chicago has lost none of it’s strut or class as it reaches it’s 50th year since it’s Broadway opening in 1975. Much of the appeal lies in Bob Fosse’s unique and mesmerising choreography - a masterclass in synchronised movement and beautifully tight physicality that provide a continually moving and sultry backdrop to the unfolding tale. The story is essentially a satire on corruption in the delivery of criminal justice and an introduction to the concept of the celebrity criminal. Roxie Hart (Janette Manrara) is a bored housewife who murders her lover and proceeds to manipulate both the public and the media to avoid conviction, aided and abetted by an expensive lawyer with questionable morals. Flawed as she is, it’s hard not to feel some sympathy for Roxie as she tries to navigate her way out of her tricky predicament. Manrara gives her just the right amount of cutting edge but never makes her unlikeable – a delicate path but one which keeps the audience on her side and rooting for her. There are no weak links here. Everything, from the seamless staging through to on point vocals and that delicious choreography is conveyed in glorious, meticulous detail. It’s a feast - both visually and audibly with every second of action given relentless energy. No lengthy expositions . . . no padded out sequences . . . just raw power and sass from start to finish. You really can’t take your eyes of it.
Joshua Lloyd as Amos Hart, Mr Cellophane . . . Full disclaimer, I’m no dance expert but it’s impossible not to notice Fosse’s distinct choreography style. Sexy, yes, but crucially very precise and controlled. Small shoulder jerks, rippling fingers, sultry freezes, flowing arms, kicks up to the ceiling, clusters of bodies moving as one - and all with generous amounts of flesh on display. Yet it’s never cheap looking - never bawdy - just oozing decadent glamour. There is humour, too, amongst the criminal comings and goings. Amos, the hapless and mis matched husband of Roxie, is given endearing naivety by Joshua Hart. His rendition of Mr Cellpohane is both funny and heartfelt, drawing suitable aaawhs from the audience as he bumbles off stage. Jordan Lee Davies provides light relief too as Mary Sunshine - a curiously high pitched singer who is not quite what she seems. Billy Flynn, the sharp dressed lawyer with an extortionate hourly rate is played with roguish charm by Darren Day whilst Victoria Anderson provides impressive authority as Mamma Morton. Like the choreography, the songs are snappy and immediately appealing. Classics like All That Jazz, Razzle Dazzle and Cell Block Tango mix seamlessly with beautifully crafted numbers like I Can’t Do It Alone and Class. All perfectly accompanied by Neil McDonalds nicely featured onstage orchestra. It’s s good to see the band front and centre, not hidden away in the pit. Djalenga Scott absolutely fizzes as Velma Kelly, delivering challenging numbers like I Can’t Do It Alone with real attitude and attack. Her duet with Roxie is a real joy, despite the follow spot operator missing both faces at times. As strong as the leads are, this show depends heavily on its ensemble. The bar is set high and that Fosse trademark style is expected. The company does not disappoint at any stage. Sultry, stylish and simply sublime. Grab a ticket while you can. To 28-06-25. Tom Roberts 23-06-25 |
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