
Former Editor-In-Chief Ash Sutton reviews Wolverhampton Grand Theatre’s production of Chicago, praising the cast’s breathtaking and immersive performance
Everything’s coming up Roxie as Chicago hits the next stop of their UK tour at the Wolverhampton Grand Theatre. Pulling Strictly Come Dancing lovers to the see Janette Manrara as Roxie Hart as the infamous murderess in the 1920s-set musical written by Bob Fosse and Fred Ebb.
There was hesitation going into this production, as casting managers will often forgo talent for a big name. Of course, there was no doubt about Manrara’s ability to perform the choreography required to sell Chicago, but her singing and acting abilities have never been shown beyond cringe-worthy skits on the beloved BBC dance show. There was nothing to be concerned about as Manrara embodied the attention-seeking wannabe Roxie Hart with such finesse and talent that I almost forgot she was not a theatre actress by trade.
“ticked all the boxes for emotional beats
The rest of the cast were equally talented; Djalenga Scott was the perfect Velma Kelly, Joshua Lloyd’s rendition of ‘Mr. Cellophane’ was a stand-out moment, and Darren Day brought 25 years of experience that translated into an incredible depiction of Billy Flynn. Even the ensemble was pitch-perfect.
As with every opening night, there are bound to be a few little mishaps, but none that ruined the experience in the slightest. From one little lyric slip to the mic levels being slightly off in a lead to ensemble call and response, the production was still finding its footing in the new theatre but put on one heck of a show.
Continuing on with cast talent for just a moment, Jordan Lee Davies’s falsetto as Mary Sunshine was the highlight of the show. The choreography was also impeccable, as expected, from the entire cast. The fosse dancing was sensual and minimal, and the feather work through ‘All I Care About’ had me obsessed. I was holding my breath through the second act as they increased the lifts and introduced ladders to the dances, but both were handled with the utmost professionalism and made for an incredible show. I would even give Manrara a 10 for her Charleston swivels.
“Even the ensemble was pitch perfect […] one hell of a show
The staging was another selling point for the production. Quite simple aesthetically, the stage had a layered stand that held the orchestra lined with chairs. In the centre there was a doorway which was used most by Day and Manrara to execute their dramatic entrances and exits. The piano made for a flat surface for actors to lay across and flirt with the pianist in true 1920s speakeasy style.
The addition of the orchestra on stage was something I particularly enjoy about musical productions, but Chicago went one step further and introduced the Maestro as one of the narrators of the show. The banter between him and Roxie just before her eponymous song was a great source of comedy and marked the moment the show ticked all the boxes for emotional beats. The orchestra was also given a space to show off their talent off the bat in act two, making for a feel-good moment before throwing us back into the drama.
The razzle dazzle filled the room as the curtain fell, the audience was singing the songs as we all descended the stairs to the exit, and the after-show buzz is something I will never tire of in theatre.
Rating: 5/5
See Chicago at the Wolverhampton Grand Theatre until Saturday 28th June before it moves on to Hull New Theatre.
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