Synopsis
Programme
WARNING SPOILER!!! - Click here for Short Synopsis (Teaser)
Act I
Velma Kelly, a former Vaudevillian, is awaiting trial for murder. She introduces us to her lifestyle in swinging 1920's Chicago (All that Jazz) then begins to relate the story of chorus girl Roxie Hart.
Roxie has been been having an affair with night-club regular Fred Caseley, but when he tells her he is breaking it off she cold-bloodedly shoots him. She then convinces her mouse-like husband, Amos, that the victim was a burglar and that it would be better if he took responsibility for the killing. The police arrive and Roxie watches on as Amos takes the rap (Funny Honey) but then reverses his story when the detective reveals that Roxie and Casely were lovers.
The scene changes to the womens cell block at Cook County Jail. Six murderesses, including Velma, relate the stories of how they came to be there (Cell Block Tango). Liz shot her husband because he annoyed her popping gum. Annie poisoned her lover for hiding that he was already married. June was accused of having an affair by her husband, who then ran into her knife - ten times. Hunyak explains, in Hungarian, that she did not do it - her only words of English are "Not Guilty". Velma killed her husband and her former sister-act partner when she caught them doing the 'spread eagle' together. Finally, Mona's artistic husband went out to find himself and along the way found Ruth, Gladys, Rosemary and Irving. That led to artistic differences - he saw himself alive, she saw him dead.
The matron of the women's jail was "Mama" Morton, who looked after her girls through a system of mutual aid (When You're Good to Mama). She has helped Velma to get the best lawyer available and is acting as her booking agent for a post acquittal tour to cash in on her notoriety - but Velma is not happy that Roxie is stealing some of her limelight. Mama then offers, for a price, to put Roxie in touch with the same lawyer, Billy Flynn. Roxie does not have the money for Flynn's fee, but manages to convice her doormat husband to raise it for her.
Billy Flynn arrives at the jail explaining that he is not in the business for money but for love - love of the law and love of his fellow man, then quickly adds love of the physical kind when the girls look disappointed (All I Care About). Billie accepts Roxie's case and arranges a press interview to which he invites sympathetic journalist Mary Sunshine who tries to find the best in everyone (A Little Bit of Good). Billy coaches Roxie with a completely different interpretation of events on the night of the murder to relate at the press interview, suggesting she was defending herself from a cruel bully (We Both Reached for the Gun). Roxie becomes the new press sensation, and revels in her new-found fame - planning a new act which will involve plenty of men (Roxie).
Velma's case, meanwhile, has been pushed out of the limelight and Mama tells her that her own future tour is off because no-one is interested in her any more. Velma then tries to talk Roxie into joining her in her former sister act (I Can't do it Alone) but Roxie turns her down. But a sensational new murder case then pushes Roxie's case out of the news and both women realise they can count on no-one but themselves (My Own Best Friend). But resourceful Roxie then reclaims press attention by claiming she was pregnant.
Act II
Velma cannot believe Roxie's continual run of good luck (I Know a Girl) and wishes that she had thought of the pregnancy angle. Roxy, meanwhile, milks the attention for all the sympathy she can get for her new condition (Me and My Baby). Her husband, Amos, proudly announces that he is the father but everyone ignores him. It is the story of his life, everyone looks right though him and never even realise he's there (Mr. Cellophane).
Velma has a meeting with Billy and shows him all the tricks she has planned to gain the sympathy of the jury at her trial (When Velma Takes the Stand), even down to the silver shoes with rhinestone buckles that she will wear. Roxie has been watching and offers Velma a bit of constructive criticism - her ideas stink! Billy also has bad news for Velma, her trial date has been put back to make way for Roxie's.
Billy tells Roxie that he will get Amos to divorce her so that she will look more sympathetic to the jury as the abandoned mother-to-be. Then he will make Amos recant his decision in the witness box so that the jury will be keen to re-unite them. Meeting with Amos, he casually points out that since Amos has not had relations with his wife for four months the child cannot be his, and plants the the idea of divorce in his head. Amos takes the bait and declares he will divorce Roxie.
At her trial, Hunyak refuses to plead guilty to a lesser charge, maintaining her protestations of innocence and putting her trust in 'Uncle Sam' to see that justice is done. Her trust is misplaced. She is found guilty and becomes the first woman ever to be hanged in Cook County.
Billy's plans for Roxie's trial include turning the event into a showbiz affair (Razzle Dazzle). He portrays a very different story from what actually happened painting Roxie as the unwilling victim of events. Mama and Velma listen in as Mary Sunshine commentates on the proceedings. Velma recognises all the little tricks she had planned to win over the jury, even down to the rhinestone buckled shoes. Realising that Roxie has stolen he plans, Velma and Mama lament on the generall demise of Class. Roxie wins her case, but as the verdict is announced news breaks of a sensational new murder case and the press rush off to follow the story, robbing Roxie of her triumph.
Billy makes a grand exit and Roxie is left feeling lost and alone. Amos arrives and asks her to come home, accepting the child. But she reveals that the baby was just a sham for the sake of the trial. Amos tries to make a grand exit, but as usual no-one takes any notice of him.
Roxie then joins up with Velma, acquitted after her own trial, and they resurrect Velma's former sister act and put together a hot new song and dance act (Nowadays / Hot Honey Rag). And so the story ends (Finale).
Impressions/Performances
Chicago is not at all your average musical, indeed the opening line tells us - "Welcome ladies and gentlemen - you are about to see a story of murder, greed, corruption, violence, exploitation, adultery and treachery. All those things we hold dear." This is no soppy love story, in fact unusually for a musical there is no love element there at all. The story is rather a somewhat black parody of American values in general and the justice system in particular - a system where celebrity pardons any sins, and the only truly unforgiveable crime is to be a nobody. This is amply illustrated by the two cold blooded killers, Roxie and Velma, playing on their notoriety to manipulate the system and getting way with their crimes, whilst the only innocent woman, Hunyak, is also the only believer in justice and the only one to be convicted and hung. All in all it is a rather immoral tale, particularly since it trivialises murder, but it gets away with the latter by presenting those moments in comic style and despite it's rather black content there is a definite feelgood factor that runs throughout.
The staging is equally unusual, with most of the stage being taken up with a tiered box-stand housing the live band, so that all of the action takes place on a relatively narrow strip at the front of the stage. This arrangement allows for little in the way of props or scenery and costumes are similarly eschewed with dance costumes being worn throughout regardless of the character being portrayed (and the colour black predominating). The show opens with one of it's two most recognizeable tunes, "All That Jazz", being sung somewhat breathily by Twinnie-Lee Moore who gave a delightfully in your face performance as Velma Kelly. Then we meet Roxie, played by former 'Eastenders' star Emma Barton whose performance as the sexy diva was a million miles away from her former TV persona as the naive and ditzy Honey Mitchell. She has a great voice, and all the moves to make her fully believable as the vaudeville hoofer. But the show really comes alive with the arrival of Jimmy Osmond, youngest of the famous American family of entertainers, as the charismatic but devious high-profile lawyer. Jimmy's stage presence and persuasive charm are enough to easily carry off the part and perfectly personify the character's bogus sincerity.
It is a show full of energy, with lots of high kicking and raunchy gymnastics from the scantily clad swing section, whilst the band, visible and very much a part of the spectavle on stage, fully enter into the spirit of the proceedings and deliver their all througout. This is a very enjoyable show, the content is perhaps a little immoral with plenty of sexual innuendo and a theme that suggests crime does pay, but viewed as pure entertainment it certainly delivers.
Verdict
Sexy and modern with some great songs and terrific performances. A sure hit.