Review: CHICAGO, Wolverhampton Grand - Tour
Photo credit: Becky Lee Brun
Chicago first graced the stage in June 1975, directed and choreographed by the iconic Bob Fosse. It ran for 936 performances to rave reviews. Since then, there have been several revivals on the West End and Broadway, numerous tours, and Rob Marshall’s very successful 2002 film. If you’re a theatregoer, it’s highly unlikely you haven’t seen the show - the band on stage, all-black costumes, and turned-in knees have reached many an audience. So, this new tour starring Janette Manrara and Darren Day has big shoes to fill.
Just in case you are one of the few who haven’t seen it… Chicago is a satirical musical set in the 1920s that follows Roxie Hart and Velma Kelly, two murderesses who use the media circus and slick lawyer Billy Flynn to turn their crimes into fame. As they navigate the corrupt justice system, they compete for the spotlight while manipulating public opinion. The show critiques celebrity culture and the glamorisation of crime, blending jazz music, vaudeville style, and dark humour.
We open to a single chair and hat against a black drop. True to form, the curtain rises and the band is there to greet us. The stage sometimes feels a little small for Fosse’s big choreography, and there’s no hanging ladder to the side of the stage for Roxie’s first solo; however, this can be forgiven, considering it’s a touring production. The outfits are as sheer and bold as ever, and the dancing is mesmerising—this choreography seems even better 50 years on.
It will come as no surprise that Manrara can dance; in fact, she steals the show in ‘Both Reached for the Gun’ with her rag-doll sass, and again during the courtroom scene in the second act with her comedic timing. However, she lacks the vocal depth that Roxie Hart needs, particularly when singing with Velma Kelly. The cast deliver a commendable effort overall, though the vocals occasionally fall short, with some unclear diction and a noticeable hesitation in holding notes. With increased vocal confidence and sharper articulation, future performances could truly shine. The second half is much stronger - the band makes the most of the entr’acte and comes to life, with the conductor even doing a high kick to celebrate a few trumpet solos.
Chicago is a timeless Kander and Ebb show that audiences continue to revisit again and again, and for good reason. The score is strong, the choreography exciting, and the staging unique. However, this production lacks the slickness of the West End. Still, it delivers light entertainment with fierce dancers and a celebrity cast.
*** Three stars
Reviewed by: Sophie Eaton