Review: Chicago at Newcastle Theatre Royal 2024
Chicago Dazzles Newcastle’s Theatre Royal with Jazz, Sass, and Sensational Performances
Invited| Review by V.Brewster
From the first sultry note of “All That Jazz,” Newcastle’s Theatre Royal was transformed into a smoky jazz club straight from the roaring twenties, where glamour and ambition collide in a whirlwind of sharp dialogue and show-stopping dance numbers. This Chicago production brings the jazz-age allure to life with style, wit, and unforgettable performances.
Chicago tells a tale as classic as it is scandalous – two rival showgirls, Roxie Hart (Faye Brookes) and Velma Kelly (Djalenga Scott), each entangled in their own web of crime, fame, and deception. Roxie, a hopeful star with murder in her past, finds herself competing for the spotlight with Velma, a vaudeville sensation whose own scandal has her fighting for the top. With the slick-talking lawyer Billy Flynn (Kevin Clifton) by their sides, the two navigate their rise to stardom in a world where the stakes are as high as the jazz notes.
From the outset, this production delivers on all fronts. Though the show started off slow with “All That Jazz,” a number powerful in its own right, it quickly picked up the pace, drawing the audience into the complex and seductive world of the cell block. The real spark hit with the iconic “Cell Block Tango.” Here, the cast’s choreography and syncopation were razor-sharp, making every beat resonate as the ensemble brought us directly into their world of grit and glamour. The increasingly provocative, meticulously timed choreography gave the production a dynamic energy that captivated from start to finish.
The staging was equally striking, with the live band positioned prominently on stage throughout the entire show. This wasn’t just a nod to the music; it was a constant reminder that the rhythm and feel of the jazz era permeate every scene. The cast performed in and around the band, creating the impression that we were all part of a 1920s jazz club where the story unfolded. The company, too, remained on stage, lounging around the band in a style that hinted at smoky lounges and underground clubs, immersing the audience completely in the setting.
Roxie’s character was especially captivating, her personable approach and lively monologues creating a conversational feel. Even as she explained her story in side conversations, she drew the audience into her confidence, making it feel like an intimate chat. Meanwhile, Velma’s powerhouse alto voice stole the spotlight in her scenes, delivering rich, rounded tones that reverberated throughout the theatre and added depth to her complex, defiant character.
For anyone who has only seen the movie adaptation, this Chicago offers a delightful surprise. It leans into humour in a way that makes each line and solo feel more engaging than its screen counterpart. This cast brought their own unforgettable flair, capturing the same energy while creating something refreshingly unique. The diversity in the cast’s vocal dynamics made every performance both clear and compelling, never missing a beat in delivering their stories.
The lighting design (Ken Billington) deserves a special mention. From subtle shifts that underscored moments of tension and humour to the striped lights cast on the floor during jail scenes, each choice enhanced the mood on stage, creating a visual effect that placed the characters behind bars. These clever touches, along with the increasingly sensual choreography (Gary Chryst), built a world that felt both provocative and intimate, holding the audience’s attention in every scene.
I’d be remiss not to mention Joshua Lloyd’s portrayal of Amos Hart. His rendition of “Mister Cellophane” was powerfully emotional yet remarkably restrained, capturing the character’s quiet desperation and endearing vulnerability. Equally noteworthy was Chicago veteran Brenda Edwards as the warden, Mama Morton. Edwards commanded her performance of “When You’re Good to Mama” with typical flair and intrigue, delivering a performance that was both magnetic and layered.
A special tip of the hat also goes to Jordan Lee Davies in the surprising role of Mary Sunshine, whose unexpected twist brought a unique and delightful energy to the show, leaving the audience thoroughly charmed.
In all, Chicago at Newcastle’s Theatre Royal is an experience not to be missed. With sensational choreography, memorable performances, and a live band that roots the production firmly in the jazz era, this show pulls out all the stops. For both musical theatre lovers and newcomers, this production is a must-see, delivering all the sass, class, and razzle-dazzle Chicago fans could hope for. Book your tickets now and step into the world of jazz, crime, and showbiz like never before – you won’t regret it.
Chicago is live at Newcastle’s Theatre Royal from 28th October to 2nd November, so don’t miss your chance to experience this iconic musical!