The razzle-dazzle of Chicago lights up the New Wimbledon Theatre with its signature jazz and stylish minimalism. Directed by Walter Bobbie, with choreography by Ann Reinking in the style of Bob Fosse, the production embraces the show’s stripped-back aesthetic while bringing a live energy to the stage. Neil Macdonald conducts the superb on-stage band with tight precision, their placement in a brick-walled block cleverly evoking the jail setting and seamlessly blending into the narrative.
At first, the stage feels a little cramped, particularly during larger ensemble moments, most notably in the opening scenes. However, the ensemble dancing finds its stride as the show progresses, ultimately becoming a standout element. What initially seems like overcrowding evolves into a stylistic choice that complements the production’s gritty, confined tone.
Janette Manrara shines as Roxie Hart, bringing dynamic characterisation and razor-sharp comedic timing. Her acting is consistently engaging, and in numbers like “Roxie,” she shows charisma, with strong support from the ensemble. That said, there are moments where her vocals feel slightly held back; one can’t help but want just a little more vocal punch to match her otherwise captivating presence.
As Velma Kelly, Djalenga Scott delivers a superb performance. Her vocals are powerful, and while her physicality sometimes comes across as stiff, it feels intentional—perhaps a reflection of Velma’s controlled, hardened persona. Her chemistry with Manrara is compelling, particularly in the iconic “Hot Honey Rag,” which proves a visual and choreographic delight. The shimmering gold backdrop adds flair without pulling focus from the tight, original Fosse choreography.
Brenda Edwards as Mama Morton brings gravitas to the role, though her performance of “When You’re Good to Mama” feels a touch too rigid and rehearsed. There’s a sense that more freedom and fire could elevate the number. In contrast, Joshua Lloyd as Amos gives a wonderfully tender performance. His “Mister Cellophane” is heartfelt and vulnerable, drawing real sympathy from the audience.
The band deserves special mention, not only for their musical precision but for their active presence within the show. Their involvement beyond accompaniment adds an immersive dimension, reinforcing the jailhouse setting and drawing the audience deeper into the world of the play.
Overall, Chicago at New Wimbledon Theatre is a slick, well-paced production that ultimately triumphs thanks to its strong performances, clever staging, and timeless score. It captures the show’s dark wit and showbiz sparkle, reminding us why this musical continues to entertain audiences nearly 50 years on.
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