Does anyone not enjoy Chicago? Seriously, though? It's the show that has it all. A score for the ages? Check. Electric choreography? Check. Great opportunities for comedy beats? Check, check and check again.
Look, this particular version of the show, directed by Walter Bobbie, has been around for a long time now, having opened on Broadway in 1996. For large chunks of its audience, this production, complete with the band on stage and monochrome costuming, is all we have ever known.
The trick is to keep the show fresh by showcasing ‘new' musical theatre talent, such as Strictly Come Dancing's Janette Manrara as Roxie, while bringing back performers who live and breathe the show - Djalenga Scott (playing Velma) and Brenda Edwards (Mama), for example.
The combination of old and new - there are some standout performances among the ensemble, for sure - weaves together to create something quite exciting. The book itself lacks the gravitas of Kander and Ebb's Cabaret but it makes up for that with its thrilling score and mesmerising dance sequences.
It's easy to see why Manrara has been cast as Roxie. Sure, she can sing, but her dancing is just pure joy to witness. She glides across the stage and works so well in the duet numbers with Velma. She was also delightful working with Darren Day (Billy Flynn) during ‘We Both Reached For The Gun' and in scenes with Joshua Lloyd (Amos).
This is probably as good as the Bobbie-directed version of this legendary show is going to be and that is something to be proud of. The company works extraordinarily hard throughout and Ann Reinking's choreography - in the style of Bob Fosse's original vision - is just as spellbinding and fresh as it was three decades ago. It's a comfortable four stars in anyone's book.
But, given the trend for reimagination in musical theatre right now, one can't help but feel Chicago is ripe for the ‘treatment'. That doesn't have to mean Jamie Lloyd shoving a camera in Velma's face or Rebecca Frecknell designing a Cabaret-style immersive experience.
However, this production has been doing the rounds for almost 30 years and, while it is still exhilarating, the lack of set, for example, could be addressed in a more contemporary take. Chicago could be darker, sexier and made to feel more dangerous in its delivery. Even the costumes could be a little more adventurous and raunchier.
This latest touring production of Chicago proves it is still beloved and relevant. It features one of musical theatre's most recognisable scores and is blessed with some wonderful individual performances. And, as expected, Manrara's dancing elevates it above more recent outings and is worth the admission fee alone.
Chicago is playing at the New Wimbledon Theatre until 14th June before continuing on a UK tour. For ticket information, see here.
Review: Tom Ambrose Photo: Paul Coltas