This review was originally written for The Reviews Hub: https://www.thereviewshub.com/chicago-marlowe-theatre-canterbury-2/

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Faye Brookes returns to deliver another dazzling performance as the iconic Roxie Hart in this star-studded revival of the hit musical.

The musical follows the story of married Roxie Hart (Brookes), an aspiring Vaudeville star who clamours for the limelight after gunning down her illicit lover Fred Casely. What follows is deceit and trickery as Hart leans on charming lawyer Billy Flynn (Strictly’s Kevin Clifton) to help save her from the noose and shoot her to the stars. It is a production with eye-popping choreography, iconic musical numbers and a reasonable amount of comedy that remains a musical theatre staple.

Brookes shines in the lead role as the conniving Roxie. Captivating as actor, dancer and singer, Brookes looks at ease in this role and brings a touch of class to this version of Hart. Brookes led a previous tour of the show in 2022, and has stepped seamlessly back into the role. The book takes a little while for us to see all of Roxie, rather than the brass showgirl she wants to be, with Brookes capturing perfectly her fragile, resilient, vulnerable state during Act Two’s excellent ‘Nowadays’. This is a superb performance, and one that now puts Brookes up as one of the best Roxie Harts there has been.

Kevin Clifton, as the suave yet cunning hotshot lawyer Billy Flynn, captures the character’s infinite charisma well in this production. While perhaps not as slimy as Flynn could be, Clifton shines especially in his slick duet with Brookes, ‘We Both Reached For The Gun’. This is one of the standout numbers from any version of the show, and Clifton’s polished physicality, lifted straight from his accomplished professional dance work, delivers this puppetry-based choreography with ease.

Pop icon Sinitta Malone’s Mama Morton is slightly more restrained than previous iterations. Malone’s vocal range is still as strong as ever, hitting all the right notes in ‘When You’re Good to Mama’, yet this version of the prison Matron is a little less devious than other stagings. Nevertheless, the decision to rein Morton is a little is not too drastic overall, and Malone shines, vocally, throughout.

Djalenga Scott, as Velma, contrasts Roxie well and Scott brings out Velma’s frustrations successfully. Velma’s determination for independence both on and off stage is well-handled by Scott, whose performance is full of poise and grace right from the opening ‘All That Jazz’ number.

In addition, the production is enhanced by its exceptional ensemble. Chicago The Musical is renowned for its sexy and gorgeous choreography, originally put together by icon Bob Fosse, and this particular revival does Fosse’s original work justice. Each strut, flick and kick is perfectly placed by a stunning ensemble who deliver with aplomb.

What makes this production is its stylish staging. Decked out all in black, the cast, and set, oozes class and helps to throw us into the seductive and seedy prohibition-era Chicago, and the murderous criminality that goes on here. The costumes, in particular, designed by William Ivey Long help to accentuate the brilliant Bob Fosse choreography, enhancing the show’s spectacle.

Of course, Roxie Hart is a cold-blooded killer, scorned by her love, yet there is nothing cold about this scintillating revival. While Fred Casely may ‘have had it coming’, Chicago The Musical deserves nothing but rapturous applause, the kind wannabe Vaudeville star Roxie dreams of.