Chicago | Crown Theatre | til 17 Dec | ★ ★ ★ ★ ★ 

An all-new Australian production of Chicago held its national premiere at Crown Perth this November, setting the bar for what is sure to be a spectacular season.

Chicago has rightfully earned its place in the pantheon of top-tier musicals. A mainstay of pop cultural references, the sizzling hot show is set in the fast-talking world of 1920s Illinois, bursting at the seams with murder, intrigue, melodrama, sex, jazz and revenge. Plenty of material to mine for dramatic tension and on-stage flair for sure, and original author Fred Ebb and author/choreographer/director Bob Fosse hit the motherlode – but John Frost and the team behind this new production certainly live up to expectations.

What may not be clear from any synopsis of the show is just how much FUN this show brings to the stage. Chicago does not take itself too seriously at all. None of the characters seem particularly fazed by the death and shattered lives around them. None of the dancing women of the cell block seem bothered by their incarceration.

This show is about fame, ego and finding the spotlight by any means necessary. This production cleverly seizes the opportunity to lean into the absurdity of it all, with a cast stacked with stars whose comedic talents match their extraordinary voices and dancing abilities.

Perth-born Zoe Ventoura stars as the original mistress of murder, Velma Kelly, whose title as the most infamous killer in Chicago is about to be snatched by cabaret ingenue, Roxie Hart, played by Lucy Maunder.

These two leads are perfectly cast. Ventoura perfectly captures the wickedly complex energy of Velma, who is mourning the other half of the cabaret sister act she “doesn’t remember” killing, while Maunder, who recently had a fantastic turn as Mrs Banks in Mary Poppins, revels in playing the cunning, doe-eyed, blonde with ambition. There’s a lot of expectation laid on actors who step into these iconic roles, but Ventoura and Maunder have Velma and Roxy under their heels.

The pair are joined in the main cast by theatre legend Anthony Warlow as opportunistic lawyer Billy Flynn, Kath and Kim’s Peter Rowsthorn as the bumbling Amos Hart, Asabi Goodman as the formidable Mama Morton and S Valeri as the saccharine reporter Mary Sunshine.

The sextet are a superb ensemble, bringing fresh life to these recognisable characters and legendary songs. Warlow as Flynn had a palpable gravitas on stage, gliding across the stage as he arrogantly declares All I Care About Is Love. Goodman had all eyes and ears transfixed with her rendition of When You’re Good To Mama.

Rowsthorn hit the big notes with his surprising turn at Mister Cellophane. Mary Sunshine had the theatre in stitches with A Little Bit Of Good, infused with the energy of a manic Mary Poppins. Not to mention the show stealing All That Jazz and Cell Block Tango. There’s a reason these songs are all so recognisable, you’ll have them in your head for days!

Perhaps surprisingly, for a show that’s exploding with glamour and spectacle, there are few costume changes. There are no gigantic, transforming set pieces that often wow Crown Theatre audiences in a production like this, but this creative choice has only allowed the cast and writing to shine.

It’s a testament to the cast’s immense talent and the strength of the original work that there is no need to pile on the razzle dazzle – the incredible work of the main cast, chorus, director, writers and musicians speaks convincingly for itself.

Chicago, to me, is the ideal musical. It doesn’t matter whether you’re a hardcore Fosse fanatic or a partner who gets dragged by the heels to the latest tour – this production is the best of musical theatre I have no doubt it offers something for everyone. Loaded with laughs, surprises, talent and songs you’ll be humming for days, Chicago is not to be missed.

Chicago is playing at Crown Theatre until 17 December 2023. For tickets, head to chicagomusical.com.au

Leigh Andrew Hill, images: Jeff Busby

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