They had it coming did Milton Keynes, the full on, seductive, scorching hot showstopper that is Chicago the Musical.

Born from a true story, Chicago the musical has its origins in the 1920’s Chicago Cook County Jail. A fascinating read telling the tale of women on ‘murderess row’ and how their stories were fashioned into a play by journalist and playwright, Maurine Watkins. Fast forward two films and the musical we know and love today is now a star studded stage spectacular of so called ‘Celebrity Killers’.

Introducing:

Roxie Hart ( Faye Brookes ) a bored housewife and chorus girl longing for fun and fame, shoots dead her lover when he threatens to leave her. The devious dame pleads innocence to her poor dimwitted husband who initially takes the blame for the shooting. It’s not long before sense prevails and off Roxie goes to jail, unrepentant, awaiting trial for murder.

Velma Kelly ( Djalenga Scott ) an infamous inmate with a ‘close’ relationship to the matron, manipulative on all counts and sensationally cynical to the highest degree.

Amos Hart ( Joshue Lloyd ) the simple minded husband of Roxie, a funny honey with a pure heart but so taken for granted, downtrodden and invisible.

Matron ‘Mama’ Morton ( Brenda Edwards ) ain’t no mothering qualities about this mama, sure she’ll sort of have your back but she’ll take your money quicker than you can blink for a ‘favour’ and she’ll turn as easily as a spinning top when it suits her.

Billy Flynn ( Kevin Clifton ) the super suave lawyer, debonair and dashing and all he cares about is love… and hard cash. Totally venal and corrupt he spins a tale with the ultimate razzle dazzle and with his silver tongue and smart side stepping, he owns every courtroom he dances into.

Mary Sunshine ( Jordan Lee Davis ) the ‘sob sister’ journalist determined to find a little bit of good in everyone with her sentiment and the ability to transform criminals into stars in her writings.

To the show:
Wow.
If only one word were allowed, that would be it.  From start to finish you are absolutely wowed.

The set opens with the live band taking full centre stage, owning their rightful place as they belt out the big numbers throughout. The score is integral to the show as the pulse of the production and you know the band members are loving every minute as they pour forth a melodic delight. The numbers were incredible. A story so timeless needs little change so the songs were familiar yet fresh. There were a couple of new additions which fitted in perfectly ( ‘Class’ was a deleted scene number in the film apparently, sadly as it was stunningly beautiful and highlights Velma and Mama’s relationship faultlessly ).

As tune after tune played out, there was plenty of toe tapping and chair dancing in the auditorium! I adored the actual stage production, with so much going on in each scene, your eyes are treated to the decadence of vaudeville flair and sensual and strong choreography in true Fosse style. Lighting added handsomely to give the effects of intimacy as did the placement of the actors even when not on centre stage.

The actors each owned their character with perfection and aplomb and everyone quite rightly got a namecheck at the close of the show.

The Harts’ relationship is damaged and riddled with deception and lies, Roxie outwitting Amos at ( almost ) every touch and turn, she’s spiteful and calculating yet masks that with dumb sweet natured innocence. Faye Brookes tunes into Roxie wonderfully, having her breathless and sugary in one sentence then sharp and cold the next. Delivering her showtunes she hides nothing of the storytelling and emotions and it’s amazing. In turn, Amos is a darling. He broke hearts in the audience with his rendition of Mr Cellophane and he really does deserve his own exit music. Joshua Lloyd plays pathos perfectly and bangs out a tune brilliantly. A big voice and a big heart right there.

As Roxie interacts with Velma you see how the pair play each other, both after the same goal including hiring the same lawyer, and that’s getting out of this alive and becoming impossibly famous. On stage they work well, just missing the cattiness of the characters in the film, but still you know they are literally, their own best friend. Their duets are matched well but I leant more towards Velma in the vocal department if I’m honest. Djalenga Scott is tremendous. She’s darkly comic with a sass to be envious of. She manipulates anyone and everyone, is gloriously glamorous and seductively self serving. Sublime talent with alluring ferocity and strength.

And we must talk about Billy.  B. I. Double L. Y.  We love Billy.

Kevin Clifton steps into the role splendidly, oh so charming and smooth but with corruption running through his veins, a dollar sign in his eyes and a wit you go wild for. We have a little of the Clifton dance magic but I would give him another hour to see more of Mr Flynn’s moves…

Having heard him sing in other shows, Clifton is still as strong as ever, if not better. That man can hold a note, and boy did he.

Mary Sunshine doesn’t disappoint either with Jordan Lee Lewis dressing up delightfully and delivering a classic moment in the show. Things are not always as they seem.

A clever note was that of the courtroom scene, a single actor wending his way around the jurors’ chairs melding into different characters with simple yet ingenious technique.

Again, stage production being absolutely on point.

Chicago is a story of corruption, greed, adultery, treachery, exploitation and murder. It raises questions of fickle fame, unscrupulousness, the undermining of the law yet it’s sizzling spectacle that leaves you wanting more. In all, I’m GUILTY ! I love love loved this seductive, smoking hot vaudeville romp.