Sophie Ricketts reviews Chicago, book by Fred Ebb & Bob Fosse, music by John Kander, lyrics by Fred Ebb, produced by Ben McDonald, directed by Michael Hurst, choreography by Shona McCullagh, musical direction by Paul Barrett, at the Isaac Theatre Royal, Sunday 17 August 2025.
It was awesome to see the Isaac Theatre Royal full to the brim on a wintery Sunday night, and reassuring to know that Cantabrians can still make it out after dark if they are really drawn to a show. Chicago is an enduring classic and this new touring production is a powerful draw card.
I’ve seen Chicago before; I’ve seen good productions, bad productions, and middling productions. But this one, without a doubt, is my favourite.
Set in the roaring, jazz-fuelled 1920s, Chicago (first produced in 1975) is a razor-sharp satire of fame, corruption and the court of public opinion. A hundred years later from this setting and it still feels more relevant than ever. Nowadays, anyone can become famous for any reason and no reason at all. You might argue that Velma and Roxie could be the original influencers.
As Roxie, Nomi Cohen is luminescent. She is sassy, bold, temperamental, and in turns delicate. It is a wholly realised performance and a masterclass is showcasing the many layers of a complex character who deserves to be seen as more than just a two-dimensional pretty face. She is smart, conniving, and scared. I had the extreme privilege of seeing Nomi play this role in the summer 2017/2018 Court Theatre production of Chicago and it is exhilarating to see her revisit Roxie with a few more years under her belt and in a totally different style of production. She is very funny, very sharp, and undeniably watchable.
Lily Bourne shines as Velma Kelly, and brings a petulant naïveté to the role which I find refreshing. Her physical prowess is magnetic to watch and her vocals capture our attention right from the very first song of the show.
Jackie Clarke is the total package as Mama Morton. She’s a stunning vocalist (duh), who masterfully nails the physical humour and double entendres the role requires. She slinks around the stage with the entitlement of an expensive house cat and the boldest twinkle in her eyes.
Joel Tobeck is positively delicious as slicker-than-oil lawyer Billy Flynn. Each of his three songs are a highlight in a show stacked with hits and he delivers some very memorable moments surrounded by scantily-clad chorus girls and boys.
Andrew Grainger portrayed a loving and loveable Amos. The ensemble was strong and engaging. The “Cell Block Tango” is always a fabulous number but the staging in this production was particularly exciting – the actor playing Fred Casely, et al, was fantastic.
The costume design for this production is excellent. The wigs and bras are MVPs. The set is stunning; easy to underestimate in its simplicity, the multiple curtains and lighting fixtures descending from the rafters completely transform the space and keep the pace of the show from ever slowing down. I loved that the band was visible on stage and beautifully lit with vintage lamps to make it feel like we were inside a jazz club. The double revolve made some exciting shapes and gave brilliant height on the large stage. As did the aerial hoop in act two!
Chicago is an enduring hit for a reason: it is a brilliant and biting look at the way society treats scandal like fame, and notoriety like success, and wraps it all up in a scintillating jazz-based score. This is the first time I’ve seen the show since Trump’s presidency, and I have to say: it hits different. The satire is so on the nose, I didn’t know whether to laugh or cry when the red, white and blue motif took over the stage during Roxie’s trial. By its own admission, this show deals with things that are close our hearts – including greed, corruption, exploitation and treachery. It is no surprise that the Nixon presidency immediately preceded the birth of this show.
This performance was, without a doubt, the sexiest version of the show I’ve ever seen. The boldness and lack of inhibition hammered home the idea of women in the 1920s begging to be set free and take the law (and their lives) into their own hands. (And the tits and ass on display are also fun to watch.) What more can I say: this production of Chicago had me enthralled. Like the afterglow from a neon sign, even when I close my eyes I can still see it replaying inside my lids.
Chicago plays at the Isaac Theatre Royal until Tuesday 26 August 2025.
Flat City Field Notes 