![](https://www.sardinesmagazine.co.uk/wp-content/uploads/2021/11/Chicago_Prod2_2560x1440.jpg)
Show: Chicago
Society: Mayflower Theatre
Venue: Mayflower Theatre. 22-26 Commercial Road, Southampton, Hampshire SO15 1GE
Credits: Book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb. Based on the play by Maurine Dallas Watkins
Type: Sardines
Author: Meri Mackney
Performance Date: 15/11/2021
Chicago
Meri Mackney | 16 Nov 2021 19:29pm
This production fizzes with energy and tongue-in-cheek fun, which more than overcomes the difficulty of producing a light-hearted piece from the story of two cold-blooded murderesses planning their escape from justice. I admit I had approached this evening with some trepidation having not enjoyed my last visit to Chicago (professional – I’m not saying where or which company) but I needn’t have worried. The show opens with the band, led by Andrew Hilton, in a raked stand taking up half the stage, which places them correctly in the centre of all the action, and we are off with a rousing rendition of All That Jazz. This show owes credits to so many people, being based on the original Bob Fosse production, but full marks go to those credited with the recreation – director, Stacey Haynes, choreographer, Gary Chryst, and sound designer, Matt Grounds. I loved the all black and fishnet costume design by William Ivey Long, which stays entirely in the realm of burlesque; exactly where this musical belongs. The lighting by Ken Billington, all shadowy edges and spotlights, gives us the feel of being in a speakeasy in 1920s Chicago and allows the cast to sparkle as they come forward for their musical numbers.
Transitions are very slick and the choreography is a joy. The potential weakness of Chicago is that, with very little dialogue between the musical numbers, excellent diction and clarity are required from the cast as the song lyrics carry the plot. This was not a problem for this company. Every word was crystal clear, every nuance expressed.
I am indebted to the programme for the back story to Chicago; written as a play by Maurine Watkins, who had reported on the sensational murderesses of the day and remarked the fact that sexist attitudes from the all-male juries meant that attractive women walked free while the plain ones received long sentences. Watkins offers us Roxie Hart and Velma Kelly, closely based on two real-life killers, Beulah Annan and Belva Gaertner, who play the system and win.
So, how to make these characters likeable to the audience? There is a nice contrast between Faye Brookes’ Roxie, who carries us with her as there is almost a naivety and a great deal of humour about the way she flirts her way to freedom and Velma (Djalenga Scott), whose intelligence shines as she plans her way to mesmerise the jury. Both ladies play them to the hilt, singing, dancing, threatening, flirting, stealing ideas from one another until they finally come together in freedom with Hot Honey Rag. Defending them both, preferring one over the other depending on who can pay more or who is most in the public eye, is Billy Flynn ( a consummate performance by Darren Day), based on real-life lawyer, W. W. O’Brien.
However, although it has its stars, this is an ensemble piece, with every member of the company coming forward for a solo or a featured dance routine. Sinitta shines as Matron ‘Mama’ Morton, as does Divina de Campo, with her amazing vocal range, as Mary Sunshine. Joel Montague as besotted, wronged husband, Amos Hart, wins the audience’s sympathy with his plea for recognition, Mister Cellophane.
There is a saying in the theatre world that ‘if you look like you are enjoying yourself, the audience will enjoy themselves’. This cast, including the band, were definitely enjoying themselves and so did we.
At The Mayflower, Southampton, until Saturday 20 November, this production is touring countrywide until July 2022. See https://chicagothemusical.com/international-tour/ for dates and places.