Chicago – Review – Hull New Theatre
By Roger Crow, July 2025
When I first saw Bob Fosse’s crowd-pleasing musical Chicago in the West End circa 2001, it was quite an event, but going in cold I only knew a couple of tracks.
By the second viewing in Bradford around 2015, it was a more user-friendly experience, and quite an achievement considering John Partridge had laryngitis. He played everyone’s favourite jazz hands lawyer, Billy Flynn, slicker than black ice on a winter’s morning.
And now, launching the unofficial start of ‘fishnet fortnight’ (The Rocky Horror Show is back at Hull New Theatre in mid-July), a packed audience settle in for a couple of hours of cracking tunes, stunning dancing, amazing music, and that delicious plot involving a couple of fame-hungry femme fatales, Roxy and Velma.
It’s one of the hottest nights of the year in more ways than one. Fosse’s fetishistic costumes are all present and correct; those trademark bowler hats instantly iconic.
Now stick me in a room with another reviewer assessing the same show, and chances are we’ll both reach for the pun. Understandable, especially as Chicago is so ingrained in popular culture it’s hard to imagine a time before that banging tune ‘All That Jazz’. (Aptly the title of Bob Fosse’s acclaimed semi-autobiographical movie with a top turn by Roy Scheider).
But it’s the peerless moment lawyer Billy Flynn tries to win over the press that stands as the high water mark for the show. Gloriously choreographed, expertly delivered by Darren Day and the extraordinary Strictly veteran Janette Manrara, this is always a moment that can make or break the show.
“Jaw-dropping moves”
Flynn using Roxie Hart like a dummy looks terrific on film, where Richard Gere and Renee Zellweger had chances of countless re-takes, but live it tests the most seasoned performers. And they pull it off admirably. Oh yes, oh yes, oh yes… sorry. Decades of playing the soundtrack on a loop has helped turn ‘We Both Reached for the Gun’ into one of my favourite tracks. And then there’s all those other crackers, including the sizzling ‘Cell Block Tango’, which is another John Kander and Fred Ebb classic. The jazz blues music combines beautifully with the expertly lit set; that lighting is like a character in its own right.
A big hand also for Linda John-Pierre, who looks and sounds terrific as the quintessential prison ‘matriarch’ Mama Morton, who can get beleaguered inmates in touch with lawyer Flynn, for a price. ‘When You’re Good to Mama’ is that big, ballsy number that oozes class, and LJP pulls it off brilliantly. Joshua Lloyd is also a terrific Amos (adoring husband of Roxie), especially during his achingly sad, and all-too-relatable ‘Mr Cellophane’.
There’s plenty of razzle, loads of dazzle, and kudos to those uber-toned dancers who pull off some incredible moves.
There’s rarely a dull moment throughout the whole show. If there’s one weak link it’s a character who doesn’t project enough at a key moment, though a rug-pulling twist may be one of the reasons why.
All the cast are great, especially Djalenga Scott as the sinuous Velma, who looks like she was cast by Fosse himself. Legs that go on forever, in a Cyd Charisse style, and some jaw-dropping moves. I had no idea a high kick could be THAT vertical.
“Outstanding”
Chicago, 2025 style, is as good as the hype suggests. It’s smart, sexy, sassy and in its 50th year, the issue of people doing anything to save their skin, and fame ultimately becoming more important than even self preservation seems more relevant than ever.
An updated version in an era of narcissistic social media-obsessed influencers wouldn’t be the worst idea in the world, and might be just the revamp needed to ensure the show lasts another 50 years. Though on the strength of the opening night at Hull New Theatre, it doesn’t look like it’s having much trouble pulling in the punters. Quite the opposite. Good luck getting a ticket. (There’s only a handful of seats left for Tuesday and Wednesday of this week).
If he were here today, I imagine Bob Fosse himself would have been among the crowd giving it a standing ovation. As he’s not, I was more than happy to be his proxy – for Roxie and company.
And finally, a big hand for musical director Neil MacDonald and the outstanding band who bring those much-loved tracks to life.
Chicago is one of the finest nights out you’ll have in a theatre all year, and in one of the country’s best theatres. Not having to travel to the West End for the privilege is an added bonus.
Hull, ‘you had it coming’, and nobody is happier than me.
‘Chicago’ is at Hull New Theatre until 5th July
Adopted Yorkshireman Roger Crow developed a passion for film and TV in the 1970s and 1980s. He has been a published film and TV reviewer since the 1990s; a world travel and restaurant critic since the noughties, and for the past decade has assessed the pros and cons of live gigs and theatre productions around the UK. His ideal day would involve reviewing a performance of Bat Out of Hell, followed by a Pad Thai while being serenaded by Texas on a cruise around Europe.
crowsfeat.com
