Chicago (tour)
The hit show Chicago takes a few well deserved swipes at the cult of celebrity. The irony is that the West End version has featured stunt casting in the last few years including Gaby Roslin in the role of Mama Morton. The only star name in this UK tour is that of ex Brooksider and Hell’s Kitchen winner Jennifer Ellison, reprising her role as Roxie Hart from the London production.
It is now ten years since the musical was revived in the UK. Yet it stands up remarkably well as the dark humour of the original book by Fred Ebb and Bob Fosse remains intact. Hart is still a callous, cold hearted young gal, desperate for fame – although Velma Kelly remains my favourite, as the publicity-seeking murderess has all the best lines and songs.
“All That Jazz” has the power to stir an audience with its sassy, sexy beats and Dawn Spence‘s feline Ms Kelly is the best I have seen on tour. She slinks across the stage, savouring every element of the rich script and dancing up a storm. Ellison fares less well but not for want of trying. The girl can dance and her comic timing is excellent. The audience adores her Roxie but vocally she is weaker than many of the experienced cast members. The number “Roxie” highlights her lack of vocal range so much so that Velma is the name on everybody’s lips. Her physical prowess during “We Both Reached For The Gun” is a crowd-pleaser though.
Katy Secombe plays Mama Morton with real fire and her duet of “Class” with Spence is the performance of the evening. Dale Meeks brings the right amount of pathos to the role of Amos and his “Mr Cellophane” is a real treat. Likewise, George Asprey is wonderful as smarmy lawyer Billy Flynn. There is a touch of “The Hoff” in his performance but he still retains the dollar-sign twinkle in his eyes.
The ensemble are stunning to watch, as the stage is filled with movement and during the number “Razzle Dazzle”, you realise that these swathing bodies have been honed to perfection. The band become stars in their own right, on stage rather than hiding in the pit, giving the music the slick treatment it deserves.
As Velma says: “Hello Suckers”; you cannot help but smile, as this show still has all the right moves.
– Glenn Meads (reviewed at the Opera House, Manchester.)
