Chicago The Musical - Review

Churchill Theatre, Bromley


*****

Lyrics by Fred Ebb
Music by John Kander
Book by Fred Ebb and Bob Fosse
Directed by Walter Bobbie

John Partridge and Hayley Tamaddon

Were it not for a young reporter - Maurine Dallas Watkins - being assigned to cover the trials of women accused of murder, for the Chicago Tribune, the world would have missed out on the long-running musical named after that same city. Some very real characters from the early 20th century provided the inspiration for iconic names such as Roxie Hart, Velma Kelly and Billy Flynn - all of whom are brilliantly brought to life by the cast of Chicago The Musical, currently touring the UK.

The tale of murder, deception and glamour is played out against the backdrop of Cook County Jail, where dazzling black costumes and stage lights replace orange jumpsuits and jail bars. The media's morbid fascination with some of its more attractive criminals enables Roxie and Velma to engineer a route to a new life of celebrity.

A social commentary on fame and justice - but more than that, Chicago is a fast-paced extravaganza, whirling through iconic numbers such as All That Jazz, Razzle Dazzle and Cell Block Tango with the cast and orchestra never missing a beat, step or line. 

The principals in this line-up are equally strong, each bringing stellar vocals and a convincing embodiment of their characters to the stage. Jessie Wallace as Mama Morton, John Partridge as Billy Flynn and Neil Ditt as Amos Hart blow the audience away with their solos but are also a joy to watch working with the rest of the cast. Hayley Tamaddon's Roxie and Sophie Carmen-Jones' Velma both play beautifully off against each other, shining while on stage every time. 

The chorus also puts on an impressive show, seamlessly transitioning from scene to scene while retaining a high level of energy throughout. Gary Chryst's recreation of Bob Fosse's choreography and Ann Reinking's original choreography transports the audience back to the roaring 1920s but never feels dated. 

The orchestra is the other star of the show. Under Léon Charles' direction, the score is slick and cheeky and the musicians - centre stage throughout - work beautifully with the actors. The clever staging also ensures that the stage never feels cramped or that it is a touring production. 

Particularly striking is the absence of a dull moment. The show starts with a literal bang and, never resting on its laurels, continues to ramp up the momentum throughout. As Velma and Mama Morton muse about the notion of class, the answer is evident - it's all being held by this production of Chicago.  

Runs until 15th October, then tours

Reviewed by Bhakti Gajjar

Photo credit Catherine Ashmore

The Perfect Murder - Review

Churchill Theatre, Bromley


****


Adapted for the stage by Shaun McKenna
Directed by Ian Talbot

Jessie Wallace and Shane Ritchie

There really is such a thing as the perfect murder, so the audience is informed by a gleeful Victor Smiley near the beginning of this play: it's the one you've never heard of.

The Perfect Murder is a stage adaption of Peter James’ novella of the same name, itself inspired by a conversation that James had had with a chief constable in which the policeman had suggested that “we all, at some point in our lives, consider killing someone.”

And so begins a tale of premeditated murder. Victor (Shane Ritchie) plans to murder wife Joan (Jessie Wallace), in the perfect solution to a dead marriage now filled with resentment and endless arguing. There's a familiarity to the set up; a childless couple, married for 20 years, with nothing to entertain them but each other. 

James' story moves between a small 1960s house in Saltdean, just outside Brighton and a room at The Kitten Parlour, a brothel in the town. Michael Holt’s set is beautifully crafted, allowing seamless transitions between the various elements.  

The story may be a bold premise but it is tackled with heaps of comic effect predominantly through the script, but also through well-timed physical humour. The play is, after all, dealing with murder – in a very black comedy.

Ritchie and Wallace are outstanding, bringing to the stage elements of the television relationship that they are most well-known for. Throughout, their interactions deliver plenty of laughs. Ritchie is particularly brilliant, switching between monologues – in which he explains his grand ideas – and dialogue with Wallace, delivered with a dry acknowledgement that the audience is aware of the true meaning behind his words. 

Completing the line-up are Simona Armstrong, Stephen Fletcher and Benjamin Wilkin, who plays a young Roy Grace, the star of James’ internationally best-selling crime thriller series. 

The full house attests to the crime genre's perennial appeal. While some in the audience may have been drawn by the leads' star appeal, the strength of this production stands on its own.  

Runs until 13th February, then on tour. 

Reviewed by: Bhakti Gajjar

Photo credit: Honeybunn Photography