Chicago is back on the tour bus, and proving yet again that razzle-dazzle never goes out of style. With its sharp-edged satire, sizzling choreography, and a score that oozes glamour and grit, this iconic musical reminds us why it’s still the toast of the town nearly a century after its Jazz Age beginnings. As the 2025 UK tour struts into the spotlight, it’s clear that murder, media, and manipulation make a timelessly irresistible cocktail. So grab your fishnets and dust off your cynicism – this is a show that’s not afraid to charm, seduce, and scandalize all in one.
Created by the legendary duo John Kander and Fred Ebb, with choreography by the iconic Bob Fosse, Chicago bites with dazzling jazz and show-stopping numbers, making it one of the most celebrated musicals in theatre history.
Faye Brookes delivers a standout performance as Roxie Hart. In Act 1, Brookes captures Roxie’s childish excitement and wide-eyed ambition with infectious energy, making her early schemes to rise to stardom both endearing and hilariously self-serving. Balancing Roxie’s naivety with a sly edge, Brookes seamlessly transitions from starry-eyed dreamer to manipulative showstopper, making her character’s arc all the more compelling. A particular highlight being ‘Me and My Baby’ alongside Jonathan Milton and Robin Kent.
Djalenga Scott is a force to be reckoned with as Velma Kelly, delivering a performance that is as magnetic as it is commanding. From the moment she launches into the iconic ‘All That Jazz’, Scott exudes star power, blending sultry confidence with razor-sharp wit. Her impeccable vocals bring depth and intensity to every number, making songs like ‘I Can’t Do It Alone’ and ‘Class’ both show-stopping and emotionally charged. Scott’s Velma is fiercely dynamic, capturing the character’s unapologetic ambition while maintaining an irresistible charm that keeps the audience hooked.
The smooth-talking lawyer with effortless charisma is portrayed by none other than Kevin Clifton. We can hardly expect anything less, as he continues to appear in UK tours year upon year. Clifton’s performance is packed with charm, wit and a touch of roguish humour that makes for a simultaneously infuriating and alluring mix. His vocals are polished, showcased perfectly in the iconic ‘Razzle Dazzle’, his delivery is sharp and his showmanship is undeniable. Clifton nails every moment with confidence and continues to prove himself as a true performer.
Brenda Edwards commands the stage as Mama Morton, delivering a powerhouse performance with unshakable authority. Exuding confidence, Edwards makes Mama both an intimidating and oddly likeable figure. Her rendition of ‘When You’re Good to Mama’ perfectly captures the character’s no-nonsense philosophy. With a sultry edge and gorgeous growl, Edwards gives just the right amount of sass and charm.
Joshua Lloyd delivers a heartfelt performance as Amos Hart, capturing the hapless, unnoticed charm of Roxie’s devoted husband with remarkable nuance. His portrayal is delightfully endearing, making Amos a lovable underdog amidst the chaos of Chicago’s glitzy, cutthroat world. Lloyd’s ‘Mr. Cellophane’ is particularly intriguing, blending quiet vulnerability with a poignant sense of longing that draws the audience into his character’s overlooked world.
Jordan Lee Davies dazzles as Mary Sunshine, bringing a radiant charm to the role. His astonishing vocals are a true highlight, soaring effortlessly through the operatic heights of ‘A Little Bit of Good’ with precision and flair. Davies delivers a pitch-perfect portrayal that blends vocal brilliance with sharp comedic timing, creating a performance that is both delightful and cleverly subversive.
The ensemble of Chicago is nothing short of spectacular, showcasing a level of strength and precision that keeps the energy crackling throughout the show. Each performer brings a unique flair to their roles, standing out individually while seamlessly becoming part of the well-oiled machine that is the Chicago ensemble. They truly shine in ‘Cell Block Tango’ where each character is given their own explosive moment to tell their story, bringing a mix of tension and dark humor to the stage. ‘Razzle Dazzle’ is also a stand out moment, as the entire ensemble dazzles with their immense athleticism. From Gary Chryst’s intricate Fosse-inspired choreography to their razor-sharp timing, they embody the gritty, seductive spirit of the show with every move. Together, they form a living, breathing organism that drives the pulse of the production, proving that the ensemble is as much a star of the show as its leading characters. Their ability to create both striking individual moments and a cohesive, dynamic force is a testament to their talent and dedication. The ensemble are as follows; Bethany Adamson, Joe Dale, Victoria Anderson, George Olney, Josh Crowther, Jessica Keable, Robin Kent, Jacob McLay Reid, Annabelle Laing and Jonathan Milton.
The direction and choreography by Tânia Nardini and Gary Chryst for the UK tour expertly captures the essence of the original New York production, directed by Walter Bobbie and choreographed by Ann Reinking. Nardini’s direction keeps the story sharp and suspenseful, maintaining the biting satirical edge while allowing the characters to shine in their darker, more humorous moments. Chryst’s choreography, with its signature Fosse style, is nothing short of mesmerizing. The iconic jazz hands, sharp lines, and sensual movements are flawlessly executed, Together, Nardini and Chryst recreate a visually stunning and highly cohesive production, paying homage to the original, ensuring Chicago remains as electrifying as ever.
With musical direction by Neil Macdonald, this production oozes with precision and energy, enhancing the iconic score with a fresh vibrancy. Macdonald expertly leads the orchestra, ensuring that the jazzy rhythms and sultry melodies of Kander and Ebb’s score come to life with dynamic intensity, providing the perfect musical backbone for thrilling choreography.
Lighting design by Ken Billington and John Lee Beatty’s scenic design work in perfect harmony to create a visually striking yet effectively minimalistic atmosphere. Billington’s use of spotlighting enhances the sultry world of this production, focusing attention where it’s needed while adding depth and intrigue. The band, sitting onstage, becomes an integral part of the production, their presence blends seamlessly in with the action. Beatty’s scenic design cleverly keeps the ensemble lined up at the edge of the stage ready to pounce into action, ensuring the show’s fluidity and electric energy. This minimalistic approach allows the focus to remain on the outstanding performances while still creating a dynamic and visually compelling environment.
Chicago is a masterclass in musical theatre, delivering everything you’d expect from this iconic show – sass, sophistication, and showbiz glamour. From its unforgettable score to its sizzling choreography, this production proves why Chicago remains a timeless crowd-pleaser. With tickets already in low availability, this is a must-see show that will have you humming “All That Jazz” long after the final curtain falls. Don’t miss your chance to witness this killer production, it’s the hottest ticket in town for a reason.
Chicago is running at His Majesty’s Theatre from the 14th to the 18th January 2025.
The only thing more elusive than fame is a last minute ticket! Get yours here – https://www.aberdeenperformingarts.com/whats-on/chicago-2/
Theatre Scotland 
Leave a comment