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A Dazzling, Sultry Spectacle

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Chicago sashayed onto the stage of New Theatre Oxford this week, and having finally ticked this long-awaited musical off my list, I can only wonder why I hadn’t seen it sooner. A dazzling display of showbiz sleaze, courtroom drama, and jazz-infused spectacle, this UK tour delivered everything one could want from the longest-running American musical in Broadway and West End history.

Set amidst the glitz and corruption of 1920s Chicago, the story follows Roxie Hart, a nightclub dancer who kills her lover in a fit of passion. To avoid conviction, she manipulates the media, the public, and even her rival cellmate, Velma Kelly, enlisting the city’s slickest lawyer, Billy Flynn, to turn her crime into a headline-grabbing sensation. With a book by Fred Ebb and Bob Fosse and music by John Kander, the show has become synonymous with sultry jazz, sensational choreography, and razor-sharp wit.

The staging for this production was deliberately minimalistic—staggered steps with the jazz band prominently integrated into the action. This stripped-back design placed the focus squarely on the performers, with a central runway giving the leading ladies ample space to command attention. Neil McDonald led the band with undeniable charisma, occasionally stepping into the role of compere as he introduced the cast, ensuring that the score—so central to Chicago’s identity—was executed to perfection.

Costuming played a significant role in the show’s allure. Chicago celebrates women not as objects of desire for the male gaze but as empowered, unapologetic forces of nature. The cast exuded confidence, strutting their way through the numbers in outfits that were undeniably sexy yet powerful. This is one of the great strengths of Chicago—it showcases women owning their narratives, their ambition, and their allure.

Faye Brookes was utterly captivating as Roxie Hart. Her smooth dance moves and compelling stage presence were matched by a powerful vocal performance, bringing charm and mischief to the role. Opposite her, Djalenga Scott’s Velma Kelly was magnetic, her rendition of All That Jazz setting the tone for the night with its sultry energy. Kevin Clifton brought undeniable charisma to Billy Flynn, injecting much-needed showmanship into Razzle Dazzle and All I Care About—his dancing pedigree evident in his effortless movements.

Brenda Edwards, as Matron “Mama” Morton, delivered a show-stopping rendition of When You’re Good to Mama, commanding the stage with her powerhouse vocals. Meanwhile, Jordan Lee Davies as Mary Sunshine provided comic relief and kept the courtroom antics moving along with charm and precision. The ensemble shone in We Both Reached for the Gun, a masterfully choreographed number that highlighted the full company’s talent and cohesion.

The production, spearheaded by David Ian for Crossroads Live in association with Barry and Fran Weissler, boasts a star-studded cast, many of whom have played their respective roles to critical acclaim in previous tours. Brookes, known for her work in Coronation Street and musical theatre, brought both experience and freshness to Roxie. Edwards’ long-standing association with the role of Mama Morton was evident in her command of the stage, while Clifton’s extensive theatre background ensured that his portrayal of Billy Flynn was both smooth and charismatic.

What makes Chicago so enduringly popular is its ability to blend cynicism with spectacle, seduction with satire. This UK tour remains faithful to Bob Fosse’s signature style, blending precision choreography with effortless sensuality, under the expert choreography of Ann Reinking. While some might argue that the minimalist staging lacks the grandiosity of other musical productions, it’s this very restraint that allows the performers and music to take centre stage.

Ultimately, Chicago at New Theatre Oxford is a masterclass in musical theatre—sharp, sexy, and endlessly entertaining. If you haven’t yet had the chance to see it, don’t make the same mistake I did—grab a ticket while you can.