Chicago at The New Wimbledon Theatre Review

By Jude

Pop into New Wimbledon Theatre this week for a dose of the old razzle dazzle! Chicago is now playing, bringing all the sexiness, sin, and scandal expected. It has the perfect mixture of jazz glitz and murderess grit.

The city? Chicago. The year? Late 1920’s. The victim? Fred Casely. The suspect? Roxie Hart.

After chorus girl Roxie (Janette Manrara) shoots her lover for ending their affair, she’s thrown into Cook County Jail, a holding ground full of women who’ve murdered the men who wronged them. In their words, “It was murder, but not a crime.”

Inside, Roxie butts heads with fellow inmate and former Vaudeville star Velma Kelly (Djalenga Scott). But with slick-talking lawyer Billy Flynn (Darren Day) in her corner, Roxie’s ready to spin the press, steal the spotlight, and turn scandal into stardom. Even if she did it… she believes her reason was good enough. Who needs justice when you’ve got jazz? Especially when beauty blinds the jury.

This musical is a classic for a reason; it features hit numbers including “All That Jazz,” “Cell Block Tango”, and “Roxie”, each delivered with sensual seductiveness from the powerhouse vocals to the vivacious choreography.

Janette Manrara as Roxie was simply sensational. With her background in Strictly Come Dancing, it’s no surprise she killed the choreography with seamless, nonchalant ease. Absolutely captivating. A charming energy, sexy and sneaky while also comedic. It’s always an energetic sign when a cast member receives applause from the audience upon their entrance. And Djalenga Scott as Velma provided that foil perfectly, her presence commanded attention, drawing laughter and admiration from the audience throughout.

The ensemble is so strong and visually stunning in their work that you may find yourself drawn in by their magnetism, a testament to their own powerful stage presence. They are all simply mesmorising. You’ll also be treated to the original Bob Fosse choreography for “Hot Honey Rag” which is highly anticipated to see performed live, ever since seeing it on Glee (2009-2015), and it does not disappoint.

Initial skepticism around John Le Beatty’s minimalist set design, black steps with no major scene changes, quickly fades. Similarly, William Ivey Long’s costume design of all-black is sophisticated and simplistic, yet each characters personality is able to shine through. The stripped-back elements put full focus on the charismatic choreography and vocal power. No distractions, just raw talent. In a way it feels more immersive, at times like you yourself are at a cabaret club rather than a theatre production. A wonderful benefit of the stage design is the onstage orchestra getting their time in the spotlight. The added ability for the actors to interact with the conductor adds an extra touch of flair and dramatics. For those familiar with the film, narrative gaps and location shifts fill in easily through imagination and musical cues. However, the quick dialogue and brisk pacing might be a bit confusing for newcomers, as the story moves rapidly between scenes without much detailed explanation.

While some theatregoers choose such an activity in order to escape the world outside, others look to it as a mirror to society. Though the story for the majority may feel like a sensationalism and they walk out of the theatre thinking so, it is loosely based on the true stories of two murderesses discovered by reporter-turned-playwright Maurine Watkins. She originally drafted the play called ‘The Brave Little Women’ which then evolved into ‘Chicago’ - the very foundation of the musical we know and love today. Some of the final words of dialogue hit home about how, in its own way, the message remains relevant today, as Velma and Roxie, deemed innocent for their crimes, declare: 'A lot of people have lost faith in America.' 'And for what America stands for.' 'But we are the living examples of what a wonderful country this is.' This does not go over the heads of the audience who let out snickers. The contemporary relevance lands. For still, today, the American justice system is corrupt, and so many people in power get away with murder, literally or figuratively. Yet, on the other hand, you can also walk out of the theatre having just enjoyed a piece of art full of cheeky, charismatic, and charming celebrity criminals. It works for both types of theatre goers.

It would be a crime for you to miss Chicago! Luckily, it’s playing all week at New Wimbledon Theatre until the 14th of June and the tour continues around the UK until the end of August.

5 stars