And All That Jazz!

I am so glad I am getting round to this! Earlier this week, I went to the Manchester Opera House to catch the UK tour of Chicago, and I was so excited, as I had only seen the film before, and never the actual stage production!
Based on a collection of true stories which took place in 1920's, and with music and lyrics by legendary duo Kander and Ebb, Chicago tells the story of nightclub singers Roxie Hart and Velma Kelly, who are both in prison for murdering their lovers. When Roxie starts stealing Velma's limelight in the press, a rivalry is born, all while the two women try and literally get away with murder.
Since it opened on Broadway in 1975, and subsequently in the West End in 1979, Chicago has become a huge hit on both sides of the pond, with the revival having just celebrated its 20th anniversary in New York. So the big question for me was, it as good as it is made out to be?

Onto this new UK tour, and its casting, and I am going to start with Hayley Tamaddon as Roxie. She definitely made the part her own, but by doing that, she sadly took out some of Roxie's cunning with her - she seemed more like a mischievous child rather than a manipulative murderess - though she did sing pretty good. On to her rival, Velma Kelly, played by Sophie Carmen-Jones, she fared much better. Carmen-Jone's voice was incredible and she brought plenty of charisma to the part. And on another good note, both Tamaddon and Carmen-Jones at some time had to sing atop a ladder - and I have to say that they are so brave to do that, because something bad could have very easily happened....

Now, I think I will next go on to Sam Bailey as Mama Morton, who was a great choice seeing as she used to be a prison warden herself, and she was great at belting out the big notes in When You're Good To Mama. She may not have been the best Mama Morton in the world, but it was a great role for her to start out  - she definitely has talent and it shows great promise. And finally is John Partridge as Billy Flynn. He really played out the showman-type in Billy, with plenty of Razzle Dazzle (pun intended), perhaps a bit too much...? I don't know, but what I do know is that he needed a bit more dancing than the bit he got in Razzle Dazzle (he can REALLY dance!) and I have not seen a note held as long as he held that penultimate note in We Both Reached For The Gun since the legendary Colm Wilkinson's Bring Him Home.....!

I have to admit, I felt there was something wrong with the sound. I sometimes couldn't hear all the words (thank God it wasn't Sondheim!), and then it seemed to be turned up to 11 whenever someone belted....?
But I just have to end on a high note, and I have to mention that the star of the piece has to be John Kander's electric score - it's pure magic, and even if you're not interested in the show itself, any jazz fan would be crazy not to have the Overture on repeat! The band is on stage, in fact they take up most of the stage, and is definitely a character in its own right. Oh, and the Entr'acte was hilarious, as it was great to see the band having a good time and muck about a bit - as they should with a score like that!

Even if you just give the 2002 Oscar-winning film a try, Chicago is definitely a try. I am very glad I enjoyed it, even though I wouldn't say it is the best thing I have seen. There are certain stories that everyone should experience, and Roxie and Velma's story should definitely be one of them. Chicago is a classic musical, and at the end of the day, is a lot of fun!