Time reveals two types of art: that which dates and that which seems timeless. One year shy of a century since it was written, and fifty years since its musical stage debut, Chicago is firmly in the second category. This week, the Royal Concert Hall plays host to the antics of Roxie, Velma and the other ‘Merry Murderesses’ of the Cook County Jail, in a show so full of pizazz it may have even invented the concept.
Following the popularity of its 90s revival debut in New York, Chicago has now been performed a whopping 32,500 times, firmly proving itself as stuff of stage legend. But lengthy history does not mean tired - and a performance on Monday evening at Nottingham's Royal Concert Hall proved that this much loved Broadway hit remains fresh and vibrant, both stylistically and in its scandalous themes.
Many may be surprised to hear that the story behind Chicago is not pure fiction - in fact it was inspired by sensational true events back in 1924. Two women, Beulah Annan and Belva Gaertner, were both accused (and acquitted) of killing their lovers in the same year. Their stories caught the imagination of aspiring playwright Maurine Dallas Watkins, who was looking for inspiration for a class assignment and laid down the foundations for the many adaptations to come.
Gaertner, who was a cabaret star, provided the basis for Velma Kelly, the incumbent celebrity inmate who develops an instant rivalry for the brattishly ambitious newcomer Roxie Hart. Sequins, shimmies and sparring ensue as the two prison starlets battle for the eyes of the press and the hearts of the jury, both helped by unscrupulous lawyer Billy Flynn.
The concept of morality is quite absent, instead replaced by a worship of glamour, a hunger for fame and complete lack of remorse - yet we’re totally on board.
Like many, I can be picky with musicals, but with Chicago I remember as a child heartily memorising all of the words to Cell Block Tango when the 2002 cinematic version was released. Maybe it’s the allure of the jazz era, but this is a show that has managed to mould the genre without falling into its traps. You won’t find overly-earnest vocals or a dilly-dallying ensemble cast, and because the story is about stage stars, you can almost believe that they’d be making up intricate jazz routines in prison while awaiting trial.
A tiered backdrop centring the orchestra provided our setting for the evening, and although simple, it was a clever set up which allowed the cast to climb up and slide down the scenery, along with disappearing through elevating trapdoors. This also worked to keep focus on the action and the slick ensemble of dancers who swung, strutted, span and high kicked their way about the stage seamlessly.
Having kicked off with a dazzling rendition of All That Jazz, we were treated to the electrifying Cell Block Tango - a number which let us in on the crimes of passion which landed each of the ‘Merry Murderesses’ in the Cook County Jail. We also hear from Velma (played with perfect poise and vexation by Djalenga Scott) who was accused of killing both her performer sister and husband. As the reasoning behind each murder is resolutely defended by the women, we’re dazzled into persuasion. There are very few virtuous characters in this story. The concept of morality is quite absent, instead replaced by a worship of glamour, a hunger for fame and complete lack of remorse - yet we’re totally on board.
Some of the highlights I enjoyed were Billy Flynn’s Razzle Dazzle, which featured some fabulous feather fan formations from the dancers reminiscent of Ziegfeld Follies, and the wonderfully choreographed court scene, in which Billy and Roxie act as ventriloquist and dummy to a hilarious effect. Shout outs also go to Brenda Edwards as matron Mama Morton, who shone during her rendition of When You're Good to Mama, and Joshua Lloyd as Roxie’s poor, pitiful husband Amos, whose solo Cellophane Man bought genuine sympathy from the audience.
But presiding over the show, Janette Manrara (Strictly Come Dancing) as Roxie Hart brought the perfect mix of vanity, vapidity and vicious ambition. You want to like Roxie, but she’s truly awful, so getting the viewer onside must be a tricky job. Manrara’s physical comedy, slick dancing and strong vocals all managed to lure us down to her low level morality, while also making us secretly hope that she gets to enjoy a smidgen of stardom before it’s all swept away.
Audiences will always be tempted by villains, so long as they are given a glamorous glaze, and Chicago is surely as glamorous as it comes.
It may be a hundred years since the events which inspired it, but the themes of Chicago still ring true today, especially in our influencer-obsessed culture when fifteen minutes of fame can be achieved through a TikTok video, a scandal or a series of loud cruel comments. As Velma and Mama Morton give their rendition of Class I was struck how I’ve heard similar sentiments spoken about our current age: Whatever happened to fair dealing and pure ethics and nice manners? / Why is it everyone now is a pain in the ass? / Whatever happened to class?
Despite their ruthlessness - and spoilers ahead - I was pleased that Velma and Roxie came together at the end, each as wicked as each other and probably due for more misdeeds and scandal. It is likely that audiences will always be tempted by villains, so long as they are given a glamorous glaze, and Chicago is surely as glamorous as it comes.
Chicago is on at Nottingham's Royal Concert Hall until Saturday 12 April. Head to the link below for tickets.
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