As long as there are phoney celebrities, there will always be Chicago. 

Whereas the previous three outings were spaced ten years apart, this fourth Australian tour of the iconic 1996 Broadway revival comes only five years after the previous tour. Coming out of lockdowns, it was understandable for producers to program well known and much loved titles. Local audiences appear to be at very healthy levels again so hopefully the appetite for more adventurous fare will soon be met.

A key collaborator of composers John Kander and Fred Ebb, Bob Fosse directed and choreographed Chicago, which starred his wife and muse Gwen Verdon as the original Roxie. Fosse’s later flame Ann Reinking choreographed the 1996 revival, in Fosse style, and starred as Roxie. Passed down across the decades, it is brilliant to see the choreography performed so sharply and characterfully by the incredible ensemble of this new tour. 

The bare, black-clad aesthetic of Chicago derives from its origin as a concert staging by City Center Encores, a long-running series that was the inspiration and model for Melbourne institution The Production Company. 

With the band on stage and all cast members wearing a single costume, the pared back production design may be jarring for audiences members fresh from the spectacle of Wicked or Moulin Rouge. Here, it is the show that is firmly the star. Hit songs come thick and fast, choreography dazzles, and snappy book scenes feature black comedy, biting social commentary, and surprising moments of pathos. 

Costumes, by William Ivey Long, remain extraordinarily modern in their sleek black simplicity. John Lee Beatty’s scenic design highlights the onstage band in a gilded frame, dropping in glittering tinsel curtain for the showy finale. Nothing and no one looks to be from the story’s 1920s setting, but that does not matter when it is all so fabulous. 

Conducting an elite band of 14, musical director James Simpson draws out instrumental performances that are as smoking hot as the dancing. The “Entr’acte” threatens to blow the roof right off the Maj. A man of many talents, Simpson also takes his turn at the shared scene introductions with impressive confidence. 

Highly experienced musical theatre leading lady Lucy Maunder positively glows as Roxie Hart, projecting the glamorous allure of a 1920s Hollywood starlet. With liquid facial expression, silky movement, and a finely honed singing voice, Maunder commands attention throughout, completely running away with the show in her expansive act one number “Roxie.”

Given the shared focus on Roxie and Velma, it is hard not to compare the actresses playing the roles. Television star Zoë Ventura does not quite have the musical theatre chops to hold her own opposite Maunder, unbalancing the energy of the central duo. At this point of the tour, Ventura’s acting is not overly nuanced and her vocals sound undercooked; that said, Ventura blends beautifully when singing with her co-stars. Ventura’s dancing is solid, with delectable finale duet “Hot Honey Rag” ending the show on a reliable high.

Anthony Warlow charms and purrs his way through the role of louche lawyer Billy Flynn, the rare portrayer of this role to elevate Billy’s scenes and not just focus on his big songs. In terrific voice, Warlow also scores many a laugh through meticulously polished comic delivery. When Warlow and Maunder unite for company number “We Both Reached for the Gun,” the result is dynamite.

Powerhouse Asabi Goodman delights as Matron ‘Mama’ Morton, an endearingly devilish glint in her eye at all times. 

Peter Rowsthorn is a revelation as hapless hubby Amos Hart, bringing zingy fresh comedy to his all too brief scenes and nailing his big ballad “Mister Cellophane.”

Melbourne-born S. Valeri is a joy as rose-tinted reporter Mary Sunshine, portraying the character’s deceptive persona to perfection. 

A member of the supremely talented ensemble, special mention to Devon Braithwaite for his brazen bravado as salacious salesman Fred Casely. 

One day we might be treated to a new production of Chicago that returns to the original vaudevillian style. For now, this timeless, slick staging entertains with effortless ease. 

Chicago the Musical plays at Her Majesty’s Theatre, Melbourne until 26 May 2024. For tickets, click here.

Chicago the Musical plays at Capitol Theatre, Sydney from 9 June 2024. For tickets, click here.

Chicago the Musical plays at Festival Theatre, Adelaide from 4 August 2024. For tickets, click here.

Photos: Jeff Busby