Review: Chicago UK Tour at the Lyceum Theatre, Sheffield
After Fantastically Great Women Who Changed the World a few weeks ago, I was back at Sheffield’s Lyceum Theatre yesterday afternoon for this week’s leg of the UK tour of Chicago.
It’s been a very long time - probably fifteen years - since I last saw Chicago on stage. So it was nice to have an opportunity to revisit this musical theatre classic which is probably best known thanks to the 2002 film starring Catherine Zeta-Jones and Renée Zellweger.
The Sheffield Lyceum Theatre befere curtain up at Chicago. Photo: mine.
What’s it about?
Roxie Hart is a bored wife and a chorus girl who dreams of fame. When her lover, Fred Casely, attempts to end their affair, she shoots him dead. Her husband Amos initially intends to take the blame, believing Roxie’s claim that Fred was a burglar, but quickly realises his wife is lying to him. Roxie confesses and is arrested.
At the Cook County Jail, several other women accused of killing their partners are also being held, including Vaudeville performer Velma Kelly, who murdered her husband and sister after catching them in bed together. Roxie and Velma both hire sleazy celebrity lawyer, Billy Flynn, who is less concerned with the truth and more concerned about creating a media circus around his newest client. Can he get the two murderesses acquitted, or will they hang for their crimes?
Any content notes?
It’s a show about murderers, so understand that going in. But it’s also a surprisingly funny satire on the culture of the “celebrity criminal”.
There are several scenes with guns and gunshots throughout the show, in both acts. None of the shots are particularly loud (certainly not “realistic” loud). In one scene, a male character slaps a woman in the face. No blood is shown at any point.
A character, who it is heavily implied is the only one of the accused murderesses who is innocent, is hanged in Act 2. The actual death isn’t shown, but she climbs a ladder out of sight and then a hangman’s noose drops to the stage. It’s pretty jarring and emotional.
Chicago is definitely on the sexier end of the spectrum, as musical theatre goes. There’s sexual humour, a scene in which characters are having sex (this is stylised and not graphic), and extensive references to infidelity. The costumes are also very sexy, many of them lingerie style.
Chicago UK Tour: My Review
Chicago is one of those rare musicals that doesn’t really have a bad or forgettable song in it. Some are stronger than others, of course, but Kander and Ebb’s score soars from the iconic opening bars to the final notes. All That Jazz is perhaps one of the most well-known and memorable of all musical theatre opening numbers.
Fittingly, since the music is really the star of the show here, the live orchestra sits on stage throughout, raised up behind the area where the main action takes place. This staging and the direct interaction of the conductor with various members of the cast leans into the production’s non-naturalistic style and feel. With the songs the primary vehicle for moving the plot along and the MC-style announcements, the audience feels as though we spend the entire two-and-a-half hours in the 1920s jazz club of the opening scene.
Djalenga Scott as Velma Kelly with the cast of Chicago. Official production photo.
The performance of the day was undoubtedly from Djalenga Scott as Velma Kelly. Scott has a commanding stage presence that draws your focus in every scene she’s in, and a gorgeous singing voice. Some of my favourite moments were her scenes with Mama Morton (a role covered in this performace by Michelle Andrews), which suggested real tenderness and care behind Mama and Velma’s ultimately transactional relationship.
Faye Brookes, as Roxie Hart, is playful and hilarious. Her comedy skills really shone in “We Both Reached for the Gun”, in which she is a puppet in a kind of messed up veltriloquist act. Brookes and Scott have great on-stage chemistry together, and their final performances of “Nowadays” and “Hot Honey Rag” were flawless.
Faye Brookes as Roxie Hart with the cast of Chicago. Official production photo.
The male leads consist of Lee Mead (of Any Dream Will Do fame) as sleazy lawyer Billy Flynn, and Jamie Baughan as Roxie’s long-suffering husband Amos. Baughan is an absolute delight in this role, playing Amos as a heartbreaking mix of sincere and pathetic. His “Mr Cellophane” was a highlight of not just the second act, but the entire show.
Lee Mead as Billy Flynn with some of the cast of Chicago. Official production photo.
This production is sleek, sexy, and stylish. The almost entirely monochromatic aesthetic is in keeping with the jazz club setting and keeps the attention firmly on the performers. With that said, though, I did find the constant black-and-white look and the lack of significant set or props made the show feel a little repetitive in places, causing the otherwise energetic pacing to drag.
Perhaps the most disappointing scene for me was the “Cell Block Tango”, which is usually a reliable favourite in this show. One of the women was missing, making the Six Merry Murderesses into five and cutting out a verse entirely. While this was likely due to extenuating circumstances such as illness or injury, I find it a little surprising that there wasn’t anyone who could cover the role for this one scene. (I’m sorry, you cannot cut “I fired two warning shots… into. his. head!” It’s one of the most iconic lines in the entire show!)
An enjoyable show with a couple of standout performances that, though I had a good time, didn’t quite hit the “wow” factor for me.
Where to get tickets
Chicago is at Sheffield until tomorrow night, Saturday 9 July, then going on to Norwich, Oxford, and Llandudno. You can see all the dates and get tickets here.