Chicago
Leicester Curve Theatre
Reviewed on Saturday 21st December 2013
Leicester Curve Theatre
Reviewed on Saturday 21st December 2013
Despite running in the West End for nearly fifteen years, I was one of the very few people who had never seen Chicago on stage, so as soon as Leicester Curve's Artistic Director Paul Kerryson announced he was directing a brand new production, with musical direction by Ben Atkinson and choreography by Drew McOnie, I knew I had to see it.
The Curve’s production uses the original 1975 script and, in the words of the show's leading lady Gemma Sutton (during a recent interview with What's On Stage), "there are no fishnets, no string vests and no black chairs.”
Chicago transported me to musical theatre heaven – the show is injected with style, flair and character, but also doesn't take itself too seriously. Chicago, which is one of the sexiest musicals ever written, revolves around scintillating sinners Roxie Hart and Velma Kelly who, as well as desiring freedom from jail, crave fame... which is where lawyer Billy Flynn comes in. Flynn manipulates the press, turning his clients into overnight stars.
Every single element of Kerryson's production is utterly mesmerising, I felt as if I was sitting inside a West End theatre. The show is nothing short of world class. Gemma Sutton makes quite an impression as Roxie Hart, guiding the audience through every high and every low whilst showcasing note perfect, jazzy vocals. She stars opposite the divine Verity Rushworth as Velma Kelly who is the villain everybody loves to hate and ends up caring for.
Act one is stolen by the breathtakingly brilliant Sandra Marvin as Mama Morton. I cannot put into words how incredible her rendition of 'When You're Good To Mama' was. The power of her voice is nothing short of astounding and as she held onto the final few notes the audience literally went insane - cheering and whooping - which I was not expecting from a matinee crowd! Marvin is a revelation, somebody needs to cast her in a West End show immediately!
The best thing about John Kander (music), Fred Ebb (lyrics & book) and Bob Fosse's (book) show is the use of the ensemble. Too often ensembles are underused, but in Chicago they rarely leave the stage. The score is ridiculously iconic and I lost count of big numbers. Most musicals have a couple of big, memorable songs but Chicago has at least fourteen.
Impressively Drew McOnie's choreography never grows tired. McOnie brings something new to each number which constantly keeps the show fresh - you never know what is going to happen next and how the style is going to progress. The cast's execution of the choreography cannot be faulted, they are sharp and on-point at all times.
Al Parkinson's swift set design makes full use of the entire stage. Set pieces smoothly fly in and out, never becoming too much. During certain scenes the magnificent band, who perform at the very back of the stage, are exposed to the audience and it was wonderful to see them relish every second of the final play-out as they encouraged the audience to clap along.
One of my biggest theatrical regrets was always missing Chicago in the West End... until now. I'm thrilled that my first experience of the show was at one of the most stunning regional theatres I have ever visited. I'm delighted that the run has been so successful and it would be a great shame if there was no further life for Kerryson's production. (Tour? Transfer?) Regardless of where you live, you must organise a road-trip to Leicester and see this show before it is too late. You will not regret it.
Reviewed by Andrew Tomlins (Editor)
Chicago runs at the Leicester Curve Theatre until 18th January 2014.
Please visit www.curveonline.co.uk for further information and tickets.
Photo Credit: Pamela Raith
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