From the depths of Cook County Jail in 1920s Illinois came one of the longest running shows in Broadway history. Chicago is not necessarily a musical that connects with all theatre-goers but received a resurgence in popularity in the US in a post-OJ Simpson landscape for its exploration of crime, justice and the law and that excitement has carried over to other parts of the world with its iconic soundtrack and catchy songs. 

The latest tour has assembled one of the strongest Australian casts in recent memory, led by the inimitable Anthony Warlow alongside Peter Rowsthorn, Asabi Goodman, Lucy Maunder and Zoë Ventoura. This sterling cast was incredibly well-supported by a stunning band, who were centre-stage throughout the whole production. It is always welcome when the band is visible on stage and in a production where the score is so essential to a full understanding of the show’s cultural context, the band’s presence was certainly enlivening.

With such a well-known soundtrack and script, this production was heavily reliant on its star performers to provide the show with the grit and power that it demands. In this regard, on the whole, the cast was exceptional. Warlow in particular was an unsurprising stand-out as the mercenary lawyer Billy Flynn, with superb character and comedic acting accompanying his soaring baritone vocals. His upper range was still as rich and pure as it always has been and at the end of each of his numbers he received rapturous applause from an appreciative audience. He approached the role with subtlety, not overdoing the classic numbers like “Razzle Dazzle” but rather, performing with an elegance befitting of the character. It was a superlative performance in every way. 

Maunder was equally strong in her role as Roxie Hart, with the transformation of her character from timid and scared to an attention-seeking egotist incredibly well done. Her vocals were strong and well-supported by her movement and convincing acting, which blended together well in some of the more challenging numbers. She formed a strong partnership with Ventoura as Velma Kelly, who struggled in her solo moments to bring the vocals and acting grit that the role demanded to the stage, but when supported by Maunder, she was more secure in her performance. 

Rowsthorn was perfectly cast as Amos Hart and a superb foil to Maunder and Warlow. His rendition of “Mister Cellophane” was expertly performed and displayed flawless comedic ability, contrasting to some of the heavier parts of the production. His final exit from the stage was particularly hilarious, highlighting Rowsthorn’s ability to take a fairly mundane part of the script and turn it into a comedic moment. Goodman was also incredibly strong as Mama Morton, the cellblock matron, performing the role with a great degree of power and intensely full-bodied vocals. S. Valeri was also fabulous, both comedically and vocally as Mary Sunshine. 

The Fosse-style movement and choreography of the ensemble is also strong throughout the production and they lend an important hand to classic numbers like “Cell Block Tango” and “We Both Reached for the Gun.” However, in some of the more narrative-driven parts of the show, their acting is a little-less believable, often lacking in an intensity of character. The set is minimalist but in a production driven by incredible dancing and an on-stage band, it doesn’t have to do much. 

While the production team has assembled a stellar cast for this production who certainly gel together, it was disappointing to see the noticeable lack of diversity in the cast. Even accounting for the fact that this story of 1920s Chicago is certainly told from a very particular lens, this production lags behind both Broadway and global touring renditions of the musical in terms of racial diversity. Given the opportunities that this show provides for diversity, and the fact that it generally feels as though Australian theatre is nearing an inflexion point in regards to this issue, it was a shame that more could not have been done here. 

With that said, this was a fabulous production of an iconic musical, with many commanding performances giving life to the story and the songs. While the deceit and grittiness of the story could have been explored a little further, the superb acting combined with the strength of the choreography and the band made this an enlivening and exciting performance. The show was incredibly well-received by the audience and, thanks to its star power, will certainly draw a large crowd every night. For those desiring a demonstration of the craft of theatre at its finest, this is a show not to miss.   

Rating: ★★★★1/2

Chicago plays at the Capitol Theatre until 28^th July. For more information, click here. 

All photo credits: Jeff Busby