Chicago

It is mind-boggling to think that, since its opening on Broadway in 1996, this version of the stage musical Chicago has now been seen by 33 million people in 36 countries. Add to that the number of cinema goers that saw the Oscar-winning film version made in 2002, or the 1942 version, 'Roxie Hart', starring Ginger Rogers, or to go back even further to the original 1926 stage play written by Maurine Dallas Watkins, and what you have is clearly a modern-day theatrical legend.
 
And this year's UK touring production has not been without dramas of its own. With only days to go before the show's opening night in May, reality TV star Gemma Collins withdrew from making her stage debut as Matron 'Mama' Morton, due to a knee injury. And now, two months later and almost as if lightning was striking twice, her replacement, Brenda Edwards has had to cut short her run just as the show arrived at Norwich Theatre Royal. Fortunately, pop star Sinitta saved the day, stepping in at the eleventh hour and reviving the role that she played in the 2021 tour.
 
It has to be said that Sinitta was superb, a revelation for me who remembers her mostly for pop hits like 'So Macho' in the late '80s. Together with female leads Faye Brookes (brilliant as celebrity wannabe Roxie Hart) and Djalenga Scott (equally stunning as Vaudeville star Velma Kelly) a triumvirate emerges that produces a veritable homage to the music of John Kander, the lyrics of Fred Ebb, the production of Bob Fosse, and of course, the original play by Watkins.
 
I am transfixed from the very first number. The exultant 'All That Jazz', performed by Velma and company is a triumphant prelude that heralds the introduction of the ten-piece jazz band, led by musical director Andrew Hilton (a character in himself).  Elevated from orchestra pit to a specially constructed platform towards the rear of the stage, the band become an extra integral member of the cast.
 
The story, as many of us already know, is based on real-life characters from 1920's Chicago, albeit a highly satirized version of celebrity that holds more than a passing relevance in today’s reality TV and tabloid world. Lea Mead, as defence lawyer Billy Mead, is not visually as distinguished as some of his stage and screen predecessors, but vocally he cannot be faulted. However Jamie Baughan, as Amos Hart, the tragically spurned husband of Roxie, certainly pulls at the audience's heartstrings, especially with his show-stealing rendition of 'Mister Cellophane'.
 
Other highlights include Velma and the girls' rendition of 'Cell Block Tango', Billy's cynical defence tactics in 'Razzle Dazzle', and, of course, the wonderfully choreographed finale of 'Nowadays' and 'Honey Nut Rag', which includes the wonderful line “You can like the life you're livin', you can live the life you like, you can even marry Harry…” – quite clearly a non-ginger reference to US President Harry S Truman, but it still made me chuckle.
 
This entire show maintains the exceptional standards set by everything that has preceded it – not only are the key cast magnificent, but the entire ensemble of dancers and singers deliver a truly scintillating performance, bound as they are within the confines of an incredibly tight stage space. The lighting is superb, and the resultant audience experience is totally awesome.
 
Oh, and Gemma, if you happen to read this, I hope the knee is doing just fine.