Review: Chicago at The Festival Theatre

Chicago, the beloved musical set in the roaring 1920s, has hit Australian stages with an electrifying production that reaffirms why this classic remains a theatrical triumph. This Australian tour, bringing together a remarkable cast and a slick, pared back, modernised vision, delivers a performance that’s as sharp and scintillating as the original.

This re-imagining of Chicago, based on the original production directed and choreographed by the Bob Fosse is a testament to how a well-loved masterpiece can be revitalised while staying true to its roots. The stage design is a sleek fusion of Art Deco glamour and contemporary minimalism, capturing the essence of Chicago’s Jazz Age setting while making it relevant for today’s audience. The use of bold lighting and dynamic choreography infuses the show with an energy that feels both nostalgic and refreshingly new.

The performances by both leads and ensemble are exceptional.

Anthony Warlow as Billy Flynn delivers charisma and charm with every note, effortlessly embodying the shallow and shiny lawyer who thrives on courtroom theatrics.

Lucy Maunder as Roxie Hart is nothing short of spectacular, bringing a perfect mix of vulnerability, humour and ambition to the role. Her renditions of “Roxie” and “Funny Honey” are particularly memorable, filled with a captivating blend of sass and poignancy.

Zoe Ventoura as Velma Kelly is another highlight, bringing fierce energy and impeccable timing to the role. The chemistry between the lead characters is electric, providing the perfect backdrop for the show’s sharp intellect and biting social commentary.

As Matron Mama Morton, the jailhouse queen who plays a pivotal role in the lives of the musical’s female prisoners, Asabi Goodman brings a mix of authority and warmth that makes her presence both commanding and endearing. Her execution of “When You’re Good to Mama” showcases her powerful voice and engaging stage presence.

The standout performance for me was Peter Rowsthorn as Amos Hart, Roxie’s downtrodden yet loving husband, who provides a poignant counterpoint to the otherwise glitzy and ruthless world of Chicago. Amos’s character is often overlooked in favour of the more flamboyant personalities, but Rowsthorn brings a depth and tenderness to the role that makes Amos both sympathetic and endearing. His performance of “Mr. Cellophane” is a touching moment of vulnerability, illustrating the character’s quiet despair with heart-wrenching honesty and subtlety.

The musical numbers, led by Musical Director Anthony Barnhill and featuring an Adelaide orchestra, from the iconic “All That Jazz” to the sultry “Razzle Dazzle,” are performed with style and precision. The choreography is a standout element, of course, mixing classic jazz influences with contemporary moves that keep the audience’s attention riveted. The dance sequences are tight, provocative, and incredibly polished, effectively capturing the spirit of the era while showcasing the talent of the performers, especially the ensemble.

Chicago the Musical in Australia is a thrilling, high-energy production that delivers on every front. It’s a show that combines sharp wit, outstanding performances, and a dazzling visual style, making it a must-see for both long-time fans and newcomers alike. Whether you’re captivated by the jazz-infused score or the biting satire of the storyline, this production proves that Chicago remains as entertaining as ever.

4 stars

Lia Loves.