Chicago

The name on everybody’s lips is once again…Chicago! The legendary, sultry, and ever-iconic musical has strutted into Lowry, bringing its sizzling Fosse flair and jazz-infused swagger to Salford.

I have to confess - this isn’t my first time at Chicago. I saw the touring production last year, and this week marks my third time seeing the show overall. And honestly? I could watch it again and again. For me, Chicago embodies everything musical theatre should be - it’s sharp, stylish, sexy and brimming with energy. Every time I see it, I fall in love with it all over again.

For anyone who hasn’t had the pleasure, Chicago tells the tale of Roxie Hart, a wannabe starlet who murders her lover in a crime of passion and winds up in jail. Once behind bars, she crosses paths with Velma Kelly, another vaudeville performer with blood on her hands, and the two clash as they fight for fame, freedom, and the adoration of the press. Add in the infamous lawyer Billy Flynn, the no-nonsense Mama Morton, and a chorus of sharp-tongued murderesses, and you’ve got a story that’s as darkly funny as it is irresistibly entertaining.

Janette Manrara, best known for her years on Strictly Come Dancing, is a revelation as Roxie Hart. I’m a huge Strictly fan, so I was excited to see Manrara’s take on this iconic role. She brings her natural charisma and dance expertise to the role, but what’s most striking is her comedic timing. Her Roxie is cheeky, manipulative, and utterly captivating. One moment she’s all wide-eyed innocence, the next she’s a cunning showgirl who knows exactly how to play the game. “Roxie” is always a standout number, but here it sparkled with Manrara’s personality. Her voice is fantastic for the role too - she has a sweetness to it which just adds another layer to Roxie’s character and makes her whole situation even more cunning. 

Opposite her, Velma Kelly is played with sizzling confidence by Djalenga Scott, reprising the role she has already made her own on tour. Scott is magnetic from the second she steps on stage, her voice smoky and commanding, her dancing razor-sharp. “I Can’t Do It Alone” was a masterclass in showmanship, and the chemistry between Scott and Manrara gave their rivalry (and eventual alliance) real bite.

Darren Day took on the role of Billy Flynn, and what a treat that was. His silky tenor wrapped itself around “All I Care About” with charm and swagger, perfectly balancing the character’s charisma with his shameless opportunism. Every line was delivered with a twinkle, reminding us that Flynn is both manipulator and showman, always with one eye on the spotlight.

And then, of course, there’s Mama Morton. Played here by Victoria Anderson, it was a joy to watch her take on the role, particularly as she’s the understudy. Anderson has the powerhouse vocals to deliver “When You’re Good to Mama” with authority.

The ensemble deserves just as much praise. Every move was executed with the precision and sensuality of Fosse’s signature style - slick, sultry and impossibly cool. Whether weaving around the band or launching into bold group numbers like “Cell Block Tango”, the ensemble brought cohesion and energy to every scene. You could feel the commitment in every shoulder roll and jazz hand.

One of Chicago’s most distinctive features is, of course, its staging. The band is front and centre, perched on their tiered set as though we’re watching a live jazz club. From the bold overture to the Act Two entr’acte, the musicians are as much a part of the show as the actors, underscoring the drama with punchy brass and sultry rhythms. It’s a thrill to watch the cast play directly to them, dancing in and around the music as if the band itself were another character.

The minimalist set means the costumes, choreography, and performances carry the show’s weight, and they do so beautifully. Black, sequins and fishnets dominate, giving everything a sleek, sensual edge that fits the show’s jazz-age decadence. Combined with Fosse’s choreography, all sharp lines, isolations and smouldering stillness, it creates a theatrical world that feels timelessly stylish.

Chicago is one of those rare musicals that never loses its bite, and this production at Lowry proves why. It’s smart, sexy, funny and utterly gripping. Janette Manrara shines as Roxie and is surrounded by a stellar cast. From the sizzling score to the flawless choreography, it’s everything musical theatre should be - bold, brilliant and unforgettable.

If you’ve yet to catch it, grab your tickets, because Chicago at Lowry is a hot night out you don’t want to miss.

CHICAGO IS SEXY, STYLISH AND UNDENIABLY COOL - IT HAS EVERYTHING YOU WANT FROM A MUSICAL!

The name on everybody’s lips is gonna be…Chicago! The sizzling iconic musical has returned to Manchester and is ready to heat up this chilly November. I love Chicago, and I love everything about it. It’s hands down one of the best film adaptations of a musical and, this week, it’s taking to the Palace Theatre stage.

For those who aren’t familiar (though I can’t imagine many of you are), Chicago tells the story of Roxie Hart, a wannabe star who finds herself in jail after murdering her lover. In the prison, she competes for the spotlight with Velma Kelly, a former vaudeville star who has her own set of troubles. Add in a crooked lawyer, a sassy matron, and a jazz-infused score, and you’ve got one of the sharpest, sexiest musicals ever created.

While I’ve watched the film an obscene amount of times, I’ve only ever seen the stage version once and that was on a Broadway stage in New York (not bragging, I promise), so I was really excited and intrigued to see the touring production. 

This production has a star studded cast, led by Faye Brookes (Strictly Ballroom, Chicago, Shrek) as Roxie Hart. Bookes oozes underestimated confidence, her version of Roxie could easily be mistaken as cute and innocent, yet she matches the confidence and wit of Velma Kelly. 

Velma Kelly, played by Djalenga Scott (Chicago, Cats, Annie), is the epitome of sexy confidence and hard-edged attitude. Her presence on stage is magnetic, and she absolutely owns every moment. Whether she’s belting out “I Can’t Do It Alone” or commanding attention in her sultry dances, she makes Velma her own while staying true to the character’s iconic legacy.

It was great to see Brenda Edwards (We Will Rock You, Chicago, Carousel) take to the stage as Mama Morton, considering this is the role in which she made her West End debut. Edwards truly knows how to command a stage, which is exactly what Mama Morton needs, plus her powerful voice which wowed us all. 

But it’s not just the leading roles that make this production of Chicago a success. The ensemble is a powerhouse of talent, bringing energy and precision to every scene, whether they’re embodying the jazz-infused chaos of 1920s Chicago or executing Bob Fosse’s iconic choreography with stylish flair. Every performer contributes to the show’s vibrancy, lending depth to the dance numbers and atmosphere to the sultry set pieces. It’s a cast that feels cohesive and deeply committed, each member bringing their own spark to the stage and working in perfect sync with the show’s jazz-band style.

One of the reasons I love the stage version of Chicago is because of the set and production, it’s really nothing like any other musical. The band is on stage, but they’re central and placed on steps right in the middle - think big band vibes. The music is the heart of the show, with its iconic score and jazz undertones that make it such a classic, so it makes sense to have the musicians as part of the on-stage performance. 

One of the stand out moments for me was the opening of Act 2 when the band gave us a glimpse of the music from the act and went full on big band with a performance of their own. I just love live music so this was bound to make me smile. It brought the house down! 

The cast perform on and in front of the steps, working right with the musicians in some cases. This means the set itself is minimal, it’s more about props, the music, and the performance. For me, this adds an element of class and an essence of a vaudeville show in the 20s - which is the main aim for Roxie and Velma.

The costumes are not straight from the stereotypical 20s style, they’re more modern and sensual - think black, fishnets, and a few sequins. It’s the kind of costume that lets the performers shine while staying true to the show's glamorous yet gritty vibe. The sleek costumes, combined with Fosse’s choreography, make every movement feel like a work of art.

Fosse’s choreography is another reason Chicago is iconic, with a combination of sharp minimalism and sinuous elegance. I’m a big fan of this style and Chicago really delivers a clean, stylish show, giving it a chic, almost burlesque quality that never loses its edge.

Chicago is sexy, stylish and undeniably cool. From its jazzy score to its sharp choreography, the show is everything you’d want in a musical. If you’re a theatre lover — or even if you’re just someone who appreciates a well-crafted performance — this is a must-see. It’s unique, it’s bold, and it’s an absolute showstopper.

WE SCORE CHICAGO..