Review: Chicago | Venue Cymru, Llandudno

⭐️⭐️⭐️⭐️⭐️

"...a deliciously dark spectacle..."

As Chicago’s Llandudno run came to a close, I simply had to settle into the venue’s seats and get a taste of jazz-ified brilliance. And what a brilliant show it was.

There’s an aspect of timelessness to Chicago. With a brilliant combination of music, movement and murder, it all comes together in a deliciously dark spectacle that still feels fresh since its debut in the '70s.

Set in the roaring ‘20s, however, Chicago follows Roxie Hart, a wannabe vaudeville star who finds flickers of fickle fame through infamy, after murdering her counterpart in a love affair. Fan-kicking alongside her is Velma Kelly, a fellow jail-mate, who just so happens to have murdered with her eyes set firmly on the spotlight. What follows is a glittering collision of ambition, manipulation of power and sex, and dazzling camera flashes, all underscored by some of the most well-known songs in musical theatre.

Straight from the opening number "All That Jazz", the show took no prisoners (excuse the pun, as it technically took plenty). The staging was strategically minimalist, with the orchestra placed right on stage - a choice that felt both stylish and immersive. Since this is my first time seeing the show, I am unsure if this is common staging; but it's a cleverly engaging idea. Even the conductor became part of the act at times, adding to the production’s sense of naughtiness.

Janette Manrara, known for her dancing finesse on Strictly Come Dancing, took on the role of Roxie Hart. Her performance had a sweetness to it, vocally lighter and less flashy than expected, but it gave Roxie a softer, more calculating charm. You could see her manipulating the press, her lawyer, and even the audience with a mix of giggles and ambition.

In contrast, Djalenga Scott's portrayal of Velma Kelly was a commanding force. Strong vocals, with an effortless stage presence, she brought the edge that Velma needs to counterbalance Roxie's wide-eyed, faux-innocent schemes. Her performance was so exceptional, I had goosebumps from the beginning. She perfected Fosse.

Billy Flynn, Roxie’s charming (and very expensive) lawyer, was perfectly cast. Smooth, suave, and just the right amount of sleazy, he slid through scenes with ease, especially in his big number “All I Care About.” His chemistry with the leading ladies gave their courtroom drama an extra flair of theatrical showmanship.

Another standout for me personally was Mama Morton, the prison matron with a knack for striking deals. Though small in stature (a contrast to the regular castings), her voice sounded across the theatre beautifully. Her performance of “When You’re Good to Mama” was full of grit and swagger - but my personal favourite was a simplistic, stunning rendition of "Class" alongside Scott. The pair made for some wonderful vocals and humour.

While the ensemble was sharp and the choreography tight, there were moments where the show’s stripped-down approach made it a little hard to follow character transitions, especially when ensemble members returned in different roles without costume changes. Still, it didn’t take away from the overall fiasco. The sound was clean, the lighting moody and effective, and the pacing kept the energy high.

Ultimately, this Chicago was exactly what it promised to be. Whether you’ve seen it before or are new to the story, it’s a night of theatre that's definitely worth the hype.

Unfortunately, it's finished its run in Venue Cymru - but it's never too late to see it at another theatre.