Chicago the musical at Wales Millennium Centre, Cardiff – review

Thanks to Wales Millennium Centre for providing us with review tickets for Chicago

Sexy, scandalous and, still packing out theatres 50 years on, Chicago the musical opened last night at Wales Millennium Centre for a week-long run as part if its 2025 UK tour.

First staged in 1975, Chicago is one of the most successful musicals of all time – the 1996 Broadway production is the longest-running American musical in Broadway and West End history, with six Tony Awards, two Olivier Awards and a Grammy to its name, while the 2002 film adaptation, starring Catherine Zeta Jones, Renée Zellweger and Richard Gere won six Oscars including Best Picture.

Set in the decadent 1920s, and inspired by two real-life accused murderesses, Roxie Hart is a married housewife and nightclub dancer jailed after killing her lover. As desperate to become famous as she is to avoid the death penalty, she dupes the public, the press and her cellmates by hiring Billy Flynn, Chicago’s slickest criminal lawyer, to help acquit her. The show cleverly satirises the corrupt justice system and cult of the celebrity criminal of prohibition era America, although much of its commentary on fame and media sensationalism feels just as relevant today.

With this week-long run at Wales Millennium Centre pretty much sold out, it’s clear Chicago holds plenty of appeal. I’ve been lucky to have seen it three times previously but this was my 15 year old’s first time experiencing it live, although she’s watched the film.

Here’s what we thought.

A showstopping cast

I’m always sceptical when celebrities are drafted in to play parts that could be given to actual musical theatre performers – it’s not like Chicago needs a ‘name’ to sell it – but in fairness to Janette Manrara, Strictly Come Dancing professional dancer, she owns the part of Roxie Hart.

She’s sassier and more humorous than in the film. She moves around the stage like the pro she is, and vocally she’s impressive too. Funny Honey of Mine sees her go from silky smooth seductive vocals to crazed and angry when she realises her plan to frame her hapless husband Amos (a very likeable Joshua Lloyd) for Fred’s murder won’t work.

Brenda Edwards, who rose to fame on The X Factor, first played Matron ‘Mama’ Morton back in 2006 and she’s brilliant as the jail warden taking bribes from the female inmates to help their cases. Her solo number Mama’s Good To You is such a brilliant piece of music, and she gets that sultry, confident tone just right.

From the opening bars of All That Jazz, I knew I was going to love Djalenga Scott as Velma Kelly, the Vaudeville accused of killing her sister and husband. She sounds incredible and moves with precision, building that rivalry with Roxie as the two compete for sensational headlines and fame.

George Olney as Billy Flynn is flashy and charismatic as he wins over the press and the courtroom but Olney really brings out the manipulative edge that lurks beneath the charming exterior with sinister undertones.

Special mention also to Rhonnda actor Jordan Lee Davies who adds a lot of comedic value as radio correspondent Mary Sunshine, re[orting on the court antics.

Excellent choreography and a brilliant band

The choreography throughout is excellent – some of the best I’ve seen on stage in a long time. Gary Chryst draws on the original moves from the legendary Bob Fosse, and at times the ensemble are so slick it feels like they are moving as one. There are also some superb comedy movements around the press conferences and court case as the show satirises the corrupt justice system and the cult of celebrity.

As for the band which accompany the production’s show-stopping numbers – they are incredible. Featuring mostly brass instruments, a piano and a double bass, they appear on a two-level platform and perform with such enthusiasm they become an integral part of the performance. They even get their own moment to shine at the start of the second act, with musical director Neil Macdonald adding a few energetic moves of his own.

The age guidance for Chicago is 12, with no entry to under twos. It’s a brilliant musical for teens and tweens – the underlying messages of how sensational headlines impact public opinion, the power of a good PR message, and how fickle the world of fame can be, are perhaps even more relevant to their generation than when the musical first premiered.

Tickets are very limited but if you’re quick, you may be in with a chance. It’s worth checking with your box office for returns.

Chicago is at Wales Millennium Centre in Cardiff until Saturday 11 May. Age guidance 12, no admittance to under 2s; running time 2 hours 30 including interval. Very limited tickets left; visit the WMC website or contact the box office for returns.

Coming up at Wales Millennium Centre

Only Fools and Horses (12-17 May); Cruel Intentions: The 90s Musical (28-31 May); & Juliet (16-28 June); The Book Of Mormon (1-19 July); Joseph and the Amazing Technicolor Dreamcoat (22-27 July).