It is the seductive, sultry story that makes Chicago one of the longest-running musicals on New York’s Broadway. Now the 1970s hit has come to Bristol Hippodrome as part of an extensive international tour.
The story of Velma Kelly and Roxie Hart was thrust into the mainstream through the major motion picture release back in 2002, starring Catherine Zeta-Jones and Renee Zellweger. It snagged the Oscar for Best Picture along with five other Academy Award - a rare feat for a musical - setting the bar high for future performances.
Set in the jazz age of late 1920s Chicago, the musical presents a satirisation of the criminal justice system and the concept of a 'celebrity criminal', based on real-life murders. It follows murderers Roxie Hart (Faye Brookes) and Velma Kelly (Djalenga Scott) who find themselves scrambling for the limelight in the papers to ensure their freedom from Cook County Jail with a sparkling cabaret career to follow.
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Some of the best showstoppers in Chicago follow in succession in the first act, which leaves you unable to catch your breath. The seminal number ‘All That Jazz’ introduces Scott as the villainous Velma, who briefly missed some of the fierce intonations that the song offers before slipping into full swing.
This song set the bar high and paid homage to the original Bob Fosse choreography from 1970s Broadway throughout, using muted, sharp and staccato with sexually suggestive hip thrusts and isolated hand movement. But it also delivered bold and confident steps reimagined by choreographer Gary Chryst, making the opening number fit for a contemporary audience.
‘Cell Block Tango’ has to be one of the most erotically-charged numbers in musical history as each prisoner lines up to explain her crime. I missed some of the fiery, tango elements of this routine but the dance was not without excellent characterisation from the murderesses - how they can sing and dance simultaneously with such power is quite unbelievable.
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It was a real treat to witness the illustrious Sheila Ferguson whose voice still shines as strong as when she was a soul singer in the 1970s, enhanced by an effortless rendition of powerhouse number ‘When You’re Good to Mama’. Not to forget B E Wong’s comical falsetto as Mary Sunshine, which initially somewhat confused the audience before they realised it was deliberately exaggerated.
One of the most climactic moments of the performance, however, was carried by Liam Marcellino as crooked lawyer Billy Flynn who replaced the absent Russell Watson due to illness. ‘We Both Reached For The Gun’ had the audience giddy with pleasure as they lapped up the flawless Charleston-esque routine.
There was no loss of pace in the second half like some musicals fall victim to. Brookes and Scott formed the ultimate double act although at times I felt Roxie outshone Velma’s vocals.
Scott prevailed in her dancing, though, performing high kicks, the splits, cartwheels, the works. Jamie Baughan was another highlight, endowing Amos Hart to play the underwritten pathetic husband character with real pathos.
The onstage orchestra had the audience in the palm of their hand at times, welcoming you back into the auditorium for the opening instrumental number of Act II. The band, expertly led by Andrew Hilton, transported you back to the 1920s cabaret bar, interacting with cast members without force.
An impeccably well-rehearsed production, the packed-out auditorium seemed spellbound throughout, particularly captivated by the humorous reenactment of Roxy’s murder of Fred Casely. Very few tickets remain but I urge you to snap one up if you’re able to.
Chicago is at Bristol Hippodrome until Saturday April 30. For tickets, go to atgtickets.com/bristol
