Ninety-nine years ago, the wonderfully named Maurine Dallas Watkins wrote a play satirising the conflation of criminal justice, violent crime, show-business and the public’s fickle obsession with celebrity.
‘Chicago is a perfect blend of snappy lines, joyous dancing and damn catchy tunes’
Some things never change, it would appear – all these years and thousands of performances around the world later, Chicago, the Kander, Ebb and Foss musical, based on Watkin’s play, is still utterly relevant to our times.
Utterly relevant, and an absolute riot from start to finish, judging by the first leg of its new tour, kicking off at Oxford’s New Theatre last night.
‘the cherry on the cake was Faye Brookes as Roxie who did sexy, scary, funny, wistful, arrogant and tender, sometimes it seemed all in the same song and dance’
It’s 1920s Chicago and fellow inmates at Cooks County Jail: Roxie (Faye Brookes) and Velma (Djalenga Scott) compete against each other for their freedom and for the attentions of the capable but corrupt lawyer Billy Flynn (Strictly’s Kevin Clifton) in order that, once released, they can become stars.
Like all the best musicals, Chicago is a perfect blend of snappy lines, joyous dancing and damn catchy tunes. Standout songs include opener ‘All That Jazz’ – all woozy New Orleans brass and finger-clicks.
‘chicago is still utterly relevant to our times’
Then there’s the startlingly powerful ‘Cell Block Tango’ where we learn of all the different ways you can dispatch your husband. And possibly the most jaw-dropping number in the show: ‘They Both Reached For The Gun’ where Roxie appropriately becomes a dummy spewing out the lines of her ventriloquist-lawyer Flynn.
The house band deservedly takes centre-stage, the set itself, despite being dark, refreshingly uncluttered, little needed to tell the story, apart from the music and cast.
Everyone on stage (razzle) dazzled, but the cherry on the cake was Faye Brookes as Roxie who did sexy, scary, funny, wistful, arrogant and tender, sometimes it seemed all in the same song and dance. Brenda Edwards’ thundering soulful wail as Mama Morton brought about a roar of applause, while warbling Jordan Lee Davies was wonderfully awful as tabloid columnist Mary Sunshine.
Everyone on stage was obviously having a ball up there during this Vaudeville masterclass and were determined that we joined in with the fun.
In 99 years time, will we still be riveted by the sights and sounds of Chicago? I wouldn’t bet against it.
Edward Bliss
Chicaco runs at New Theatre Oxford until Saturday March 1. Book here https://www.atgtickets.com/shows/chicago/new-theatre-oxford/
