Phoenix Theatre – until 6 October (Cuba Gooding Jr. appears until 30 June)
Reviewed by Claire Roderick
4****
There isn’t much that’s new in this latest production of perennial favourite Chicago, with the original direction and choreography from the 1997 production being recreated and no major changes to the design. But then, if it ain’t broke, why fix it?
The antics of fame-hungry female murderers and their slippery lawyer as they compete to grab headlines to feed the voracious and ghoulish fascination of the public still has a sharp satirical edge, and this is Kander and Ebb at their very best, with a score that is simply sublime, packed with familiar iconic numbers. The orchestra take centre stage, where they truly belong, receiving some of the loudest cheers of the night for their energetic Entr’acte performance.
The main talking point of this production is the audacious stunt casting of Cuba Gooding Jr. An Oscar winner he may be, but can he actually sing? Well… he just about gets away with it, but I’m not sure if his voice will last until June. His untrained voice is passable, but he is often gasping for breath by the end of a line. A fact that the production seems to have acknowledged with some funny interactions between Gooding Jr. and the ensemble. It doesn’t really matter though, as the man oozes charisma and makes Billy Flynn as likeable as he is mercenary. And he CAN dance.
It doesn’t help poor Cuba that he is surrounded by a trio of ridiculously talented women. Josefina Gabrielle is a gutsy and snarling Velma and Ruthie Henshall is a surprisingly mellow Mama Morton. Sarah Soetaert’s Roxie is a fantastic mix of cold hard ambition and goofy screwball ditziness, and the three nail their vocals with style and swagger.
The talented company handle the Ann Reinking choreography with sizzling energy, a sea of gyrating hips, kicks and flicks that is mesmerising and moody. The staging is deceptively simple, with Velma and the girls’ wowing the audience using only wooden chairs in Cell Block Tango. Other standout numbers include We Both Reached for the Gun (showcasing Gooding Jr. and Soetaert’s comedy chops brilliantly), Mr Cellophane (Paul Rider winning the audience’s hearts as pathetically loyal Amos) and Hot Honey Rag, using Fosse’s original choreography.
It’s fantastic to have Chicago back in the West End, and this slick and sexy production is still a guaranteed crowd pleaser full of fierce razzle dazzle.